Conference Series on Theoretical and Practical Seria simpozioanelor de teoria si practica Az épített örökség felújításának elméleti és gyakorlati
Issues of Built Heritage Conservation reabilitãrii patrimoniului construit kérdései – Nemzetközi konferencia-sorozat
TUSNAD
A Realistic Approach to Built Heritage Conservation – Baia Mare, 25th – 28th of May, 2005 Incursiune în realitãøile reabilitãrii patrimoniului construit – Baia Mare, 25-28 mai 2005 Az épített örökség felújításának sokszínû, valóságos arca – Nagybánya 2005. május 25 – 28.
5
Main organisers / Organizatori principali / Fôszervezôk: Fundaøia Transilvania Trust, Cluj-N / Transylvania Trust Foundation, Cluj-N / Transylvania Trust Alapítvány, Kolozsvár Asociaøia Restauratorilor de Monumente Istorice din Transilvania, Cluj-N / The Transylvanian Historic Building Conservationists' Society / Erdélyi Mûemlék-restaurátorok Egyesülete, Kolozsvár Asociaøia de Protecøia Monumentelor Keöpeczi Sebestyén József din Sfântu Gheorghe / The Keöpeczi Sebestyén József Association for Historic Building Protection, Sfântu Gheorghe / Keöpeczi Sebestyén József Mûemlékvédô Egyesület, Sepsiszentgyörgy Organisers / Organizatori / Szervezôk: Primãria Baia Mare / Baia Mare Town Hall / Nagybánya Polgármesteri Hivatala Ministerul Culturii si Cultelor - Bucurešti / Ministry of Culture and Religions, Bucharest / Kulturális és Vallásügyi Minisztérium, Bukarest Comitetul Naøional Român ICOMOS / ICOMOS, Romanian National Committee / ICOMOS Román Nemzeti Bizottság Comitetul Naøional Maghiar ICOMOS / ICOMOS, Hungarian National Committee / ICOMOS Magyar Nemzeti Bizottság Comitetul Naøional German ICOMOS / ICOMOS, German National Committee / ICOMOS Német Nemzeti Bizottság Universitatea Tehnicã Cluj Napoca, Facultatea de Arhitecturã ši Urbanism / Technical University Cluj-Napoca Department of Architecture and Urban Planning / Mûszaki Egyetem, Kolozsvár, Építészeti és Városrendezési Kar Sponsors / Sponsori / Támogatók: Ministerul Culturii si Cultelor - Bucurešti / Ministry of Culture and Religions, Bucharest / Kulturális és Vallásügyi Minisztérium, Bukarest Fondul Cultural Naøional din Ungaria / The National Cultural Fund, Hungary / Nemzeti Kulturális Alapprogram, Magyarország
Primãria Baia Mare / Baia Mare Town Hall / Nagybánya Polgármesteri Hivatala HARCON Építô és szerelô Rt. – Budapest HARCON Építés Kft – Nyíregyháza sc. 9 Optiune srl. Baia Marea sc. Utilitas srl. Cluj -N. sc. Creativ Group SA – Bistriøa
Editor / Editor / Szerkesztô: KIRIZSÁN Imola Traducãtori / Translators / Fordítók: BODOR Eszter, MOSCU Katalin, VINCZE Hanna Orsolya, VIRGINÁS Andrea, WEISZ Attila
Copertã / Cover design / Fedôlap design: 9 OPTIUNE (Baia Mare / Nagybánya) Au contribuit la pregãtirea publicaøei / The following persons contributed to the preparation of the proceedings / A kiadvány elôkészítésében részt vettek: Cristina COLDEA, DEZSÔ Éva, HEGEDÜS Csilla, INCZE Éva, JAKAB Márta, SZABÓ Bálint, SZÉNÁSSY Zsolt
Editura UTILITAS Publisher -Kiadó ISBN — 973 — 9377 — 44 — 0
Tusnad 2005
Baia Mare
TABLE OF CONTENTS / CUPRINS / TARTALOMJEGYZÉK
1.1. MITRU Ildikó – PASKUCZ Štefan
The Rehabilitation Project "Business Center Millennium III Baia Mare" Proiectul de reabilitare "Centrul de Afaceri Millennium III Baia Mare" Millennium III – Nagybánya, Üzletközpont – Helyreállítási terv 1.2. GÁLOCSY Elek Historic Building Conservation at Baia Mare Reabilitare de monumente istorice la Baia Mare Mûemlék felújítás Nagybányán 1.3. Tudor POPOVICI Historic Building Conservation at Baia Mare – Consideration on Ventilation and Air-conditioning Reabilitarea unor clãdiri istorice din Baia Mare – Consideraøii asupra ventilãrii ši climatizãrii Mûemlék felújítás Nagybányán – légtechnikai kérdések 1.4. Magdalena AMBRUS Historic Building Conservation at Baia Mare – Observations on the Heating and Sanitary Installations Reabilitarea unor clãdiri istorice din Baia Mare – Consideraøii asupra instalaøiilor de încãlzire ši sanitare Mûemlék felújítás Nagybányán – épületgépészeti kérdések 1.5. SZABÓ Erzsébet – ZÁGONI Csaba Features of design the electrical installations at the rehabilitation of the Millennium III Business Centre, Baia Mare Aspecte ale proiectãrii instalaøiilor electrice Centrul de Afaceri Millennium III Baia Mare Millennium III – Nagybánya Üzletközpont helyreállítási terve villanyszerelési szempontból 1.6. SZABÓ Bálint – KIRIZSÁN Imola Structural approach – Millennium III Business Centre, Baia Mare Consolidarea structurii de rezistenøã în cadrul proiectului de reabilitare – Centrul de Afaceri Millennium III Baia Mare Millennium III – Nagybánya Üzletközpont – helyreállítási terv tartószerkezeti megerôsítések
2. Davie LOVIE
Development and Conservation of Grainger Town, Newcastle upon Tyne, UK Dezvoltarea ši reabilitarea Orašului Grainger, Newcastle upon Tyne, Marea Britanie Az Egyesült Királyság-i Newcastle upon Tyne, Grainger városának fejlôdése és helyreállítása
3.1. Jana KORENOVA, Peter VOLOSCUK Monument Preserving in the City of Bardejov (Slovakia) Protecøia monumentelor în orašul Bardejov (Slovacia) Mûemlékvédelem Bártfán (Szlovákia) 3.2. Radoslav MOKRIS Historical Town Protection in Košice (Slovakia), Experiences – Present – Vision Protecøia zonei istorice în Košice (Slovacia) Experienøe – Prezent – Viziuni Kassa (Szlovákia) történeti város reabilitáció. Tapasztalat – Jelen – Vizió
Tusnad 2005
Baia Mare
4. Cãlin HOINÃRESCU Rehabilitation of Reprezentative Historic Buildings in the City of Ploiesti (Romania) Reabilitarea clãdirilor istorice reprezentative în municipiul Ploiešti Ploiešti (Románia) reprezentatív történeti épületeinek helyreállítása
5. DELY György – THOMA Emôke Rehabilitating the Historic Centre of Eger (Hungary), Block Rehabilitation. Approaches and their Durability Reabilitarea centrului istoric Eger (Ungaria) – conceptii si durabilitatea lor Eger történelmi városközpontjának rehabilitációja Tömb rehabilitáció – elképzelések és tartósságuk
6.1. Rózsa LAMPERT
The Ganz Park (Budapest) Parcul Ganz (Budapesta) A Ganz park 6.2. RÉPAY András Millenium Exhibition and Program Center 2nd District, Budapest Millenniumi Kiállítási és Rendezvény Központ Budapest, II. kerület Centru de expoziøii ši manifestãri Millennium, sectorul II Budapesta
7.1. MÁNYI István The Rebirth of the Hungarian Museum of Natural Sciences in the Building of the Ludovika Academy Renašterea Muzeului Maghiar de Štiinte Naturale în clãdirea Academiei Ludovika A Magyar Természettudományi Múzeum újjászületése a Ludovika Akadémia épületében 7.2. BENDE Csaba From The Ludoviceum to The Hungarian Museum of Natural Sciences De la Ludoviceum pânã la Muzeul de Štiinte Naturale din Budapesta A Ludovíceumtól a Magyar Természettudományi Múzeumig
8. Ana BÂRCA 8 Wooden Churches from Maramures Inscribed on the World Heritage List 8 Biserici de lemn din Maramureš înscrise în Lista Patrimoniului Mondial Nyolc máramarosi fatemplom a Világörökség-listán
Tusnad 2005
Baia Mare
Bálint SZABÓ
A Realistic Approach to Built Heritage Conservation Incursiune în realitãøile reabilitãrii patrimoniului construit Az építettörökség–felújítás sokszínû, valóságos arca INTRODUCTION
PREAMBUL
ELÖLJÁRÓBAN
On the turn of the millennium we those who are engaged in carrying out interventions in the built environment have witnessed major changes in the approach of the conservation of the built heritage and the restoration of its components: monuments, historic building complexes and historic sites. Have these changes appeared out of the blue, without antecedents, or is this the current phase of a natural continuous evolution? Could it be by any chance, that those who are engaged in the conservation of the built heritage - more exactly the restoration of historic buildings (and the protection of them) didn't notice this process? Or we (from the former socialist countries? from Romania, eventually from Transylvania) didn't see this change, because after the events from 1989 - for 15 years - we didn't have the capacity to analyze all the phenomena going on in the western world, as we were occupied with ourselves? Of course, all the former socialist countries were cut from the major circuits of human development, including those interventions carried out in the built environment or from the evolution of the conservation concept of built heritage. No doubt, that these countries have had different views considering the built environment already since 1945 (we refer to the part of the socialist block that we know: the European one, handed over to the communist empire after World War II). In order to back up these arguments, it is enough to think of: – the annihilating politics towards the "exploiting classes", the clergy and their properties (castles and mansions, palaces and civil building, churches and monasteries etc.); – the typical socialist approach: neglect of the built environm\ent (the built heritage) and the lack of environmental protection including of the built environment, the major cause of the destruction of the built heritage; – the people were reduced to poverty by the communist dictatorship, they were left without financial (and moral) support
La cumpãna mileniilor, cei care ne ocupãm de intervenøii asupra fondului construit suntem martori la schimbãri majore în abordarea reabilitãrii patrimoniului construit, respectiv restaurãrii componentelor acestuia, a monumentelor, ansamblurilor ši siturilor istorice. Aceste schimbãri au apãrut brusc, din senin fãrã semnale premergãtoare, sau asistãm la o etapã a unui proces firesc de evoluøie continuã? Se poate cã acest fenomen nu a fost observat de cei care se ocupã de reabilitarea patrimoniului construit, de restaurarea monumentelor istorice ši de protecøia acestora? Sau modificarea atitudinii nu au fost surprinsã de noi (cei din fostul lagãr socialist, cei din România, sau cei din Transilvania), deoarece în urma transformãrilor din 1989 - timp de 15 ani - nu am avut capacitatea de a analiza fenomenele petrecute în lumea situatã la vest de noi, fiind preocupaøi de noi înšine? Desigur, øãrile fostului lagãr socialist au fost deconectate de la evenimentele majore ale dezvoltãri umane, implicit de cele legate de intervenøiile asupra mediului construit, ši de evoluøia conceptului de reabilitare a patrimoniului construit. Nu este mai puøin adevãrat, cã aceste øãri încã din anul 1945 au avut o atitudine distinctã faøã de fondul construit (ne referim la partea lagãrului cunoscutã de noi: ceea europeanã, cedatã imperiului comunist în urma celui de al doilea rãzboi mondial). Este de ajuns sã ne gândim, pentru a susøine cele declarate, la: – politica de nimicire a claselor "exploatatoare", a clerului ši a imobilelor din proprietatea lor (a castelelor ši conacelor, palatelor ši caselor burgheze, bisericilor ši mãnãstirilor etc.); – atitudini socialiste specifice: neîntreøinerea fondului construit ši lipsa de protecøie a mediului - inclusiv a mediului construit, cauze majore a distrugerilor de patrimoniu; – populaøia sãrãcitã de dictatura comunistã a fost lãsatã fãrã resurse financiare ši morale, necesare reabilitãrii fondului construit în general ši a valorilor de patrimoniu în special.
Az ezredfordulón valamennyien, akik épített környezeti beavatkozássokkal foglalkozunk, az épített-örökség felújításában, illetve alkotóelemeinek, a mûemlékek, mûemlék-együttesek és tájak helyreállításában nagyméretû szemléletváltozásnak vagyunk tanúi. Ezek a változások minden elôzmény nélkül derült égbôl jelentek meg, vagy egy természetes folyamat köztes állomásának tekinthetôk? Esetleg ezt a folyamatot nem vették észre az építettörökségfelújításban, a mûemlékhelyreállításban dolgozók, a védelemben érdekeltek? Vagy mi (a volt szocialista lágerben, Romániában, Erdélyben) nem figyeltünk fel a megváltozott hozzáállásra, mert a rendszerváltás után is jó 15 évig csak magunkra figyeltünk és nem volt szabad kapacitásunk a tôlünk nyugatra esô világban zajló folyamatok elemzésére? Persze, a szocialista láger országai elszigetelôdtek az emberi fejlôdés minden jelentôs vonulatától, beleértve az épített környezeti beavatkozásokat, illetve az építettörökség-felújítás elméletének fejlôdését is. Az is az igazsághoz tartozik, hogy ezek az országok tulajdonképpen már 1945-tôl másképpen viszonyultak az épített környezethez (azokra a középkelet-európai országokra utalunk, melyek a második világháború után kommunista uralom alá kerültek). Az elmondottakat bizonyítandó elégséges felidézni: – az un. kizsákmányoló osztályok, a klérus, illetve az álltaluk birtokolt ingatlanok (kastélyok és kúriák, paloták és polgárházak, templomok és kolostorok) megsemmisítésére irányuló politikát ; – a jellegzetes szocialista jellemvonásokat: az épület-állomány (az épített örökség) karban-tartásának elhanyagolását és a(z) (épített) környezetvédelem hiányát, mint az épített örökség tönkremenetelének alapvetô okait; – a kommunista diktatúra által elszegényített népesség az épületállománnyal (illetve
Tusnad 2005
Baia Mare
necessary for the conservation of the built environment in general and of the valuable part of the heritage in particular. All these facts: the neglected built heritage, on the point of collapse, managed by a financially and morally poor society, going through more and more interventions carried out by inexperienced specialists (whose number is directly connected with the social demand which in itself is very small) lead to this feeling of panic: do we do things right, is it enough what we are doing, do we at least understand what is happening around us? Since 1992, when we had our first meeting at Tusnad, on all the 11 occasions we have invited experts from other countries, who shared their experience with us and re-taught the restoration of historic buildings (including the protection between two consecutive restorations, which no longer belong to the communist regime. Our duties were honored with study trips to the most representative achievements of our ancestors surrounded by the unique Transylvanian landscapes. From this year on we have the courage to stand in front of you - well-known specialists from abroad - and also in front of our colleagues from Romania and reveal our thoughts (using Heine's words): who are we and what do we care about? We would like to share with you what our generation has added to the built heritage from our ancestors. Seeing the modest results, we ask with fear in our hearts: Who is to blame? Our ancestors, for leaving us a heritage, which is too large and too valuable? Or are we to blame, because we do not live up to their value? And beyond the blame! Is it right what we are doing? We invite you to an exchange of experience. We want the chain of confessions to continue:
Tusnad 2005
Toate acestea, patrimoniul construit neglijat, privat de întreøinere, parøial în prag de colaps, administrat de o societate sãrãcitã financiar ši moral, suportând intervenøii din ce în ce mai ample din partea unor speciališti fãrã experienøã (având ritm de revenire direct legat de comanda socialã greu desprinsã de punctul echilibrului indiferent) conduc la o stare de fapte ce ne creeazã o veritabilã stare de panicã. Facem bine ceea ce facem, este suficient cât ši cum ne implicãm, percepem corect ceea ce se întâmplã în jurul nostru? Din 1992, când de prima datã ne-am vãzut la Tušnad, dea-lungul a 11 ocazii, am invitat speciališti din alte øãri, pentru a ne împãrtãši din experienøa lor ši pentru a reînvãøa meseria de restaurator de monumente istorice ši de supraveghetor dupã, ocupaøii eliminate din sfera domeniilor prioritare de "cel mai iubit fiu al poporului". Recompensa noastrã faøã de invitaøi au fost excursiile de studii la cele mai reprezentative realizãri ale strãmošilor noštri, integrate în peisajul inedit transilvãnean. Începând din acest an avem curajul sã venim în faøa Dvs., speciališti strãini redutabili, precum ši în faøa colegilor noštri din øarã, sã ne destãinuim ši sã adoptãm îndoiala în accepøiunea Heine: cine suntem ši unde ne doare? Dorim sã venim în faøa Dvs. cu aportul generaøiei noastre asupra moštenirii lãsate de strãmoši. Analizând rezultatele minore ne întrebãm cu sfialã : Cine este de vinã? Strãmošii, fiindcã ne-au lãsat o moštenire coplešitoare , prea bogatã ši prea valoroasã? Noi, fiindcã nu ne ridicãm la valoarea acestora? Ši dincolo de sentimentul de culpabilitate , oare facem bine cea ce facem? În acest sens va invitam la acest schimb de experienta în care dorim sa analizam urmatoarele:
Baia Mare
örökségértékkel még rendelkezô része) a felújításához elengedhetetlenül szükséges anyagi (és erkölcsi) tartalékok nélkül marad. Az anyagilag és erkölcsileg elszegényedett társadalom által adminisztrált, karban nem tartott, elhanyagolt, részben az összeomlás határára került épített örökség, kitéve a gyakorlatlan szakemberek egyre nagyobb méretû beavatkozásának olyan helyzetet eredményezett, melyben komolyan kell mérlegelnünk: jó-e, elég-e amit teszünk, helyesen értelmezzük-e a bennünket körbevevô világot? 1992-tôl kezdve - akkor találkoztunk elôször Tusnádon - 11 alkalommal azért hívtuk meg más országok szakembereit, hogy megosszák velünk tapasztalataikat és segítsenek újratanulni a mûemlékhelyreállítás fortélyait (és két helyreállítás közötti védelmét), szakítva "népünk legszeretettebb fia" diktálta prioritásokkal. Vendégeink számára adóságainkat törlesztendô - tanulmányi kirándulásokat szerveztünk olyan reprezentatív épületekhez, melyeket elôdeink hagytak ránk az erdélyi tájban beágyazottan. Az idei évben bátorkodunk arról vallani Önök elôtt, más országokból jött szakemberek - de hazai kollegák elôtt is, hogy (Heine-t idézve): "kik vagyunk, és mi fáj nekünk". Szeretnék beszámolni arról, mit sikerült hozzátennie a mi generációnknak ôseink munkájához. Látva a nagyon is szerény eredményeket, bizonytalanul kérdezzük magunktól: ki a hibás? Az ôsök, mert nyomasztó hagyatékuk túlságosan gazdag és értékes? Mi, mert nem növünk fel ezen értékekhez? És túl a hibáskeresésen! Ha kevés is, de legalább jó az, amit csinálunk? Tapasztalatcserére, közös gondolkodásra hívjuk Önöket:
1. At BAIA MARE, we would like to discuss the "globalization" of the restoration of historic monuments, as well as the restorers' attitude towards the new challenges in this domain exemplified through the Business Centre Millennium III Program Baia Mare, which was financed by PHARE, carried out in 2003-2004 and which is the venue of our conference.
1. Acum, aici la BAIA MARE dorim sã punem în discuøie "globalizarea" activitãøii de restaurare a monumentelor istorice, respectiv atitudinea restauratorilor faøã de noile provocãri din domeniu - exemplificat ši prin Programul Business Center Millennium III. Baia Mare - finanøat de PHARE, realizat în anii 2003-2004 ši care gãzduiešte lucrãrile Simpozionului.
1. A mostani nagybányai konferencia témája a mûemlék-felújítási munka "globalizációja", illetve a felújítók új kihívásokhoz való viszonyulása, példaként hozva fel - többek között - a nagybányai Business Center Millenium III programot, amely 2003-2004-ben valósult meg a PHARE támogatásával, és amely a konferencia helyszínét biztosítja.
2. At BONTIDA (2006), the training of specialists will be the center of our attention: the models of ICCROM, YORK - LEUVEN, BUDAPEST-BUCURESTICLUJ, BONTIDA etc. Of course the participants will have the opportunity to admire the entire process at Bontida, but the other specialization models will be discussed as well, including the ones in connection with education in general, and the arts and crafts schools. Bánffy Castle, Bontida - being restored mainly through the training programs- will be the venue of the conference..
2. În 2006, la BONØIDA în centrul atenøiei va fi formarea specialištilor: Modelele ICCROM, YORK - LEUVEN, BUDAPESTA-BUCUREšTI-CLUJ, BONØIDA etc. Desigur participanøii la simpozion vor putea admira în plinã desfãšurare varianta Bonøida, dar se doresc discuøii ši asupra celorlalte modele de specializare, legate ši de învãøãmântul general respectiv de šcoli de artã ši meserii; Castelul Bánffy de la Bonøida - în curs de reabilitare, preponderent prin programele de formare a specialištilor - va gãzdui lucrãrile Simpozionului.
2. 2006-ban BONCHIDÁN a szakemberképzés lesz a figyelem középpontjában: ICCROM, YORK-LEUVEN, BUDAPESTBUKAREST- KOLOZSVÁR, BONCHIDA stb. oktatásmodelljei. Természetesen a konferencia résztvevôi a helyszínen figyelhetik meg a bonchidai változatot, de szeretnénk elbeszélgetni más szakképzô módszerekrôl is, beleérve az alapszakképzést, illetve az általános oktatást is. A bonchidai Bánffy-kastély - amelyet elsôsorban a szakmunkás képzô programok keretében újítanak fel - lesz a konferencia helyszíne.
3. At SIBIU (2007), the urban heritage will be discussed - the restoration of historic areas and the integration of modern development: traffic in the historic districts, earthquake-proof
3. La SIBIU în 2007 va fi locul, unde se va discuta patrimoniul urban - reabilitarea zonelor istorice, respectiv conexiunea modern-istoric: circulaøia în cartierele istorice, siguranøa la cutremur în orašul
3. Nagyszeben lesz a város-örökség témájú ülések helyszíne 2007-ben: a történeti területek felújítása, illetve a történeti és modern összefonódása - a történeti város közlekedéssel, földrengés-
Tusnad 2005
Baia Mare
historic buildings and others. Sibiu will be one of the European cultural capitals in 2007, the exceptional built heritage will provide an appropriate setting for the major cultural events of the year; the conference will be held at the Restoration Department of the University in Piata Mica 22 (Small Square 22) which is currently being restored.
istoric ši altele; Sibiul va fi co-capitalã culturalã europeanã în anul 2007, cultura construitã aici, de excepøie, s-ar încadra perfect în evenimentele majore ale anului; lucrãrile simpozionului vor avea loc în clãdirea Secøiei de Restaurare a Universitãøii din Piaøa Micã 22, azi în curs de restaurare.
biztonsággal stb. - kapcsolatos kérdései. 2007-ben Nagyszeben Európa egyik kulturális fôvárosa lesz, az események sorában a konferencia is helyet kapna. Az ülések helyszíne az Egyetem Restaurátor Szakának Kispiac 22-es szám alatt található épülete, amely jelenleg felújítás alatt áll.
4. At RIMETEA (2008), the discussions will focus on rural sites, as well as - after a 12-year experience - on the "ROMÁN" restoration model of the rural heritage, which was carried out by the Transylvania Trust and financed by the Local Council of the 5th District of Budapest. The participants can stay in farmhouses, which have already received
4. RIMETEA (2008) va gãzdui dezbaterile legate de situri rurale, ši - dupã o experienøã de 12 ani - se va pune în discuøie modelul "ROMÁN" de salvare a patrimoniului rural, realizat de Fundaøia Transilvania Trust ši susøinut financiar de Consiliul Local al Sectorului V. Budapesta. Participanøii la simpozion pot fi cazaøi la casele øãrãnešti, care dispun deja de brevet
4. TOROCKÓN (2008) a népi építészetrôl lesz szó. 12 év tapasztalatával beszélhetünk majd a népi építészeti örökség mentésérôl, a ROMÁN-modellrôl, amelyet a Transsylvania Trust Alapítvány valósít meg a Budapest V. Kerületi Önkormányzat támogatásával. A résztvevôket parasztházakban szállásoljuk el, amelyek már rendelkeznek faluturizmus-
rural tourist license (of course - there is a motel for the less courageous ones outside the village).
agro-turistic (desigur , în afara localitãøii existã ši un motel pentru cei mai puøin temerari).
engedéllyel (természetesen a községen kívül szálloda is áll majd a kevésbé merészek rendelkezésére).
5. At ORADEA (2009) the discussions will be on the integration of expansive historic ensembles in the life of a contemporary town: the Oradea Fortress, where in 2002 grand ideas were launched and funds were sought for the revitalization of the fortress. The
5. La ORADEA în anul 2009 se va pune în discuøie integrarea monumentului mamut în viaøa orašului contemporan: Cetatea Oradea, unde în anul 2002 s-au lansat gînduri mãreøe, ši unde se cautã fonduri mari în vederea reabilitãrii; lucrãrile Simpozionului vor avea loc în cetatea în curs de reabilitare.
5. NAGYVÁRADON (2009) a nagyméretû (mamut) mûemléknek a város életébe való beillesztése lesz a téma: a váradi várral kapcsolatben a 2002-es évben ambiciózus tervek születtek, és remények vannak a vár felújításának nagyszabású támogatására. A konferencia munkálatai a felújítás alatt álló várban
Tusnad 2005
Baia Mare
conference will be held in the fortress, which will be under restoration. We hope, that the exchange of experience offered here at Baia Mare, will be useful for everyone and that we will meet on future occasions. Even if our experience probably - is similar to that of surgeons rather than to the work of family doctors from Western Europe: there is room for everyone, either on the stage (beside the surgery table) or as spectators.
Nutrim speranøa, cã schimbul de experienøã oferit aici, în Baia Mare, va fi reciproc avantajos, ši cã veøi reveni la întâlnirile viitoare. Chiar dacã exerciøiul nostru, probabil seamãnã mai mult cu cea a chirurgilor de campanie, decât cu practica medicilor de familie din vestul Europei, în sãlile noastre, lângã mesele de operaøii, sau în tribune sunt locuri ši pentru unii ši pentru aløii.
zajlanak majd. Reményeink szerint a mostani nagybányai tapasztalatcsere mindnyájunk számára hasznos lesz, a vendégeink pedig visszatérnek hozzánk a következô alkalmakkor is. Még akkor is, ha a mi tapasztalataik valószínûleg jobban hasonlítanak a tábori sebészekéihez, mint a nyugat-európai családi orvosokéihoz, a helyszíneinken - a mûtôasztalok mellett vagy a nézôtéren mindkettô számára bôven van hely:
I. WHO WE ARE AND WHAT ARE OUR CONCERNS
I.
I.
The Conference from Baia Mare would like to offer the possibility to discuss how those, who are engaged in the protection and restoration of the built environment, perceive historic buildings: how they approach the object of their work, what the boundaries of these works are. Speeches will be delivered by those, who carry out the interventions on the existing buildings, as well as by those, who - always taking the citizens' interests into consideration - lead the restoration works. The examples of interventions are related to our region, and their relevance to other areas may be questionable. When we refer to those who carry out the interventions, we think of researchers, designers, contractors, individuals or legal persons, as well as institutions/professional associations (among others the Order of Architects from Romania, the National Union of Monument Restorers, the Monument Restorers' Society from Transylvania). We are also assisted by those who take care of the safety issues of the built environment during use or dealing with the ability of it to resist natural catastrophes, the managers of the
Simpozionul de la Baia Mare dorešte sã ofere cadrul necesar discuøiilor legate de atitudinea celor care se ocupã de mediul construit faøã de clãdirile istorice , cum este abordat obiectul muncii ši care sunt constrângerile ce le implicã aceastã activitate. Ne adresãm deopotrivã celor care intervin asupra fondului construit existent, respectiv celor care într-un fel dar întotdeauna strict legat de interesele cetãøeanului de rând - coordoneazã activitatea de intervenøie. Exemplificãrile se leagã de regiunea noastrã, cu grad discutabil de generalizare în problema intervenøiilor asupra patrimoniului construit. Când ne referim la cei care intervin asupra fondului construit, ne gândim la cercetãtori, proiectanøi, executanøi, persoane fizice sau juridice, respectiv la asociaøiile profesionale de tipul la Ordinului Arhitecøilor din România, Uniunea Naøionalã a Restauratorilor de Monumente Istorice, Asociaøia Restauratorilor de Monumente Istorice din Transilvania ši altele. Sunt alãturi de noi ši cei care vegheazã asupra siguranøei în exploatare sau în starea limitã de rezistenøã ši stabilitate a mediului construit: ordonatorii activitãøilor
CINE SUNTEM ŠI UNDE NE DOARE
KIK VAGYUNK, ÉS MI FÁJ NEKÜNK
A nagybányai tanácskozás keretében arra összpontosítunk, hogy milyen módon érzékelik a történeti épületeket azok, akik az épített környezettel foglalkoznak: hogyan tekintenek munkájuk tárgyára, melyek a korlátjai ennek a gyakorlatnak. Megszólaltatjuk azokat, akik a beavatkozásokat végzik a létezô épületállományon, illetve azokat, akik valamilyen módon - de mindig az állampolgár érdekében - a beavatkozók útját egyengetik. Az épített örökségi beavatkozások bemutatott példái a mi régiónkhoz kötôdnek, általánosíthatóságuk megkérdôjelezhetô. Amikor azokat vesszük számba, akik beavatkoznak az épületállományba: kutatókra, tervezôkre, kivitelezôkre gondolunk, fizikai, vagy jogi személyekre, illetve kamara jellegû érdekvédelmi szervezeteikre (többek között az Építészek Rendjére, a Mûemlékrestaurátorok Országos Szövetségérére, vagy az Erdélyi Mûemlék-restaurátorok Szövetségére). Hozzánk tartóznak azok is, akik az épített környezet biztonságára vigyáznak, mind a használati, mind a szilárdsági, illetve stabilitási határ-állapotokban. ôk az útegyengetô felügyelôségek és
Tusnad 2005
Baia Mare
intervention activities, inspectorates and inspectors - individuals and legal persons , that represent the interests of the citizens and of the buildings, which belong to the them (Building Inspectorate, Cultural Inspectorates, National and Regional Monument Committees, Sanitary Inspectorates, Emergency Inspectorates Fire protection, central or local state apparatus responsible for the hygiene of the built environment, as well as their subordinate specialized institutions, which supervise the water supply and sewage, electricity and natural gas, as well as experts, project supervisors, building site inspectors). We also think of the representatives of the civil society - they are in fact the beneficiaries of all these activities - who are always ready to help the citizens, whenever the authorities do not succeed or when those who carry out interventions in the built environment are on the verge of making a mistake. We all have the impression, that in the maintenance and restoration of the built environment, important elements are about to change, which are closely connected to the main structure of the activity. The changes need to be assessed, and implemented through a minimum intervention necessary, to achieve the goals for the maximum benefit of the society. We deliberately avoid the term monument preservation: we are convinced, that major changes are to be observed in the maintenance and restoration of the built environment and it's understandable, that each and every component - historic and modern buildings, whether listed or not, under international, national or local protection - are treated differently. Most of the participants at the conference are involved in the protection of the built environment and it seems to be natural that their role shall be in the coordination of the changes in relation to historic building conservation.
de intervenøie, inspectorate ši inspectori persoane juridice ši fizice - reprezentând interesele cetãøenilor, respectiv a fondului construit aparøinând acestora. (Inspectoratul în Construcøii, Inspectoratele Culturale, Comisiile Naøionale ši Regionale ale Monumentelor Istorice, Inspectoratele Sanitare, Inspectoratele pentru Situaøii de urgentã - PSI, aparatul de stat central sau local responsabili de igiena mediului construit, respectiv instituøiile de specialitate subordonate, care vegheazã asupra reøelelor de apã ši canalizare, energie electricã, gaze naturale, precum ši experøi, verificatori de proiecte, inspectori de šantier). Ne gândim ši la reprezentanøii societãøii civile - la urma urmei la beneficiarii tuturor acestor activitãøi - care au menirea sã vinã în ajutorul cetãøeanului de rând oriunde autoritãøile nu se descurcã, sau când cei care intervin asupra mediului construit sunt înclinaøi sã comitã erori. Cu toøii avem impresia cã în domeniul întreøinerii ši reabilitãrii fondului construit existent sunt în curs de derulare transformãri importante, care se leagã de structura majorã a activitãøii. Este de vãzut care sunt acestea ši dacã se poate face ceva în vederea optimizãrii activitãøii, pentru un profit cât mai mare, realizat cu un efort cât mai mic, toate desigur în folosul cetãøeanului. Nu întâmplãtor evitãm termenul de restaurare a monumentelor istorice. Suntem convinši, cã întreøinerea ši reabilitarea întregului fond construit existent, se aflã în cursul unui proces profund de transformare, aici înøelegând atât construcøiile istorice cât ši cele moderne, clasate sau nu pentru a fi monumente istorice, de valoare internaøionalã, naøionalã sau localã. Deoarece majoritatea celor prezenøi dispun de activitate în domeniul restaurãrii monumentelor istorice, este firesc dacã locul acestor speciališti sã fie preferenøial cãutat în sistemul de coordonate în curs de transformare al activitãøii de intervenøii la fondul construit existent.
felügyelôk - jogi és fizikai személyek akik a polgárok érdekeit képviselik, illetve a polgárok használatában levô épületállományét (Építési Felügyelôségek, Mûvelôdési Felügyelôségek, Mûemlékek Országos és Regionális Bizottságai, Egészségügyi Felügyelôségek, Tûzoltó Parancsnokságok). Ide sorolhatók az épített környezet higéniájáért felelôs helyi és központi hatóságok, illetve ezeknek alárendelt szakintézmények, melyek a víz, szenny- és esôvíz, villany, földgáz és más hálózatok mûködését biztosítják, valamint szakértôk, tervellenôrök, ellenmérnökök. Gondolunk a civil társadalom képviselôire is - ôk a haszonélvezôi tulajdonképpen ezen tevékenységeknek akik a közember segítségére sietnek, ha a hatóságok nehezen boldogulnak, vagy az épített környezetbe avatkozók részérôl tévedést észlelnek. Mindnyájunknak az az érzése, hogy a létezô épületállomány karbantartásában és felújításában lényeges szerkezeti elemeket érintô fontos változások következnek. Kérdés, miben állnak ezek a változások, illetve lehet-e tenni valamit a közember javára a tevékenységek ésszerûsítéséért, a minél kisebb erôfeszítéssel elérhetô minél nagyobb haszonért. A mûemlékek helyreállítása kifejezést szándékosan kerüljük: biztosak vagyunk benne, hogy lényeges szerkezeti változások következnek be a létezô épületállomány karbantartásában és felújításában, természetesen más-más elbírálásban részesülnek a különbözô összetevôk: a történeti és modern épületek (melyek mûemlékek, vagy sem) és melyek a világ, országos, vagy helyi védettséget élveznek. A jelenlevôk többsége a mûemlékhelyreállítás területén is érdekelt, természetes tehát ha elsôsorban ezen szakemberek helyét keressük a változásoknak kitett épített környezeti beavatkozások koordinátái között.
II. SHORT HISTORY
II. PUØINÃ ISTORIE
II. EGY KIS TÖRTÉNELEM
For 40 years (1950-1990) - at least in Romania - very little money has been spent on the maintenance and restoration of the built environment (including on the restoration of historic buildings) - so we had to create new buildings (unfortunately of low
Timp de 40 ani (1950-1990) - cel puøin la noi în øarã - prea puøin s-a cheltuit pentru întreøinerea ši reabilitarea fondului construit existent (inclusiv la restaurarea monumentelor istorice) - forøându-se executarea de construcøii noi, din pãcate de slabã calitate conceptualã, structuralã,
Negyven év alatt (1950-1990) legalább is nálunk, az országban nagyon keveset költöttek az épületállomány karbantartására és felújítására (beleértve a mûemlékek helyreállítását is) - erôltetve a sajnálatosan gyenge konceptuális és
Tusnad 2005
Baia Mare
conceptual and physical quality). In the last decade of the last century, the major structural changes of the society including the changes of the economic structure; led to the historic part of the built heritage to become the victim of at least two - in our opinion - incorrect political decisions: (1) the apartments, once beautiful spaces, were divided into uncomfortable homes in the 1950s, and were sold to the residents (mainly to the poorer families, who used them as social housing before), (2) the ground floors of the historic buildings are divided into small units, being sold (even as we speak) as commercial spaces. Under such circumstances, an overall restoration concept can only be implemented at random, the new private ownership becoming the main obstacle of the process. After 60 years of stagnation (the period between 1940-1950, as we all know, was not very prosperous, towards the maintenance of the built environment), the revitalisation of the economy of the 21st century includes the revival of the investment, which is also directed towards the existing built environment. The buildings from the historic centers become focus points - because of their value and also because of their setting, even if the two obstacles mentioned above reduce considerably the quality and efficiency of interventions. Of course, everything stated above refers mainly to the more modest part of the heritage: which was mainly built in the 19th century or between the wars - which can be considered historic environment.
materialã evident ši de echipare. În ultimul deceniu al secolului trecut în centrul atenøiei s-au aflat schimbãrile structurale majore ale societãøii ši ale structurilor economice. Fondul construit cu valoare de patrimoniu a fost victima cel puøin de douã ori a unor decizii politice credem noi - grešite: (1) apartamente altã datã generoase, împãrøite barbar în anii 50 în spaøii de locuit fãrã confort se vând locatarilor (de regulã familiilor sãrace menøinându-se astfel caracterul lor modest de locuinøe sociale), (2) parterele construcøiilor istorice au fost fãrâmiøate în mici proprietãøi, fiind puse în vânzare drept spaøii comerciale, proces ce se continuã ši azi. În aceste condiøii procesul de restaurare a întregului ansamblu poate fi realizat numai întâmplãtor, proprietatea particularã ajungând principala piedicã. Dupã 60 de ani de stagnare (perioada 1940-1950, din motive cunoscute nu a fost o perioadã propice pentru întreøinerea mediului construit), relansarea economicã, demaratã în secolul XXI, a determinat revigorarea activitãøilor de investiøii, care a implicat dirijarea unor fonduri ši cãtre patrimoniul construit existent. Revin în centul atenøiei construcøiile din centrele istorice - valoroase în sine dar ši datoritã amplasamentului - chiar dacã cele douã impedimente menøionate la punctul (1), respectiv (2) reduc simøitor calitatea ši eficienøa intervenøiilor. Cele de mai sus se referã accentuat la pãrøii de patrimoniu având valoare mai modestã, majoritar reconstruite în secolul al XIX-lea, sau în perioada interbelicã considerat de noi anturaj istoric
anyag-minôségû új épületek kivitelezését. A múlt évszázad utolsó évtizedében a társadalmi illetve gazdasági struktúrák nagyméretû változásai voltak a figyelem központjában. Az épületállomány örökségértékû része pedig legalább kétszer - véleményünk szerint - hibás politikai döntés áldozata volt: (1) az 50-es években lakhatatlanná szabdalt egykoron kényelmes polgári lakásokat eladták általában szegény bérlôiknek, (2) a történeti épületek földszintjeinek (folyamatban levô) feldarabolása és sok kis üzlethelyiségként történô értékesítése. Ilyen körülmények között az épületek egységes koncepció szerinti helyreállítása csak véletlenül lehetséges, a fô akadály pedig a (friss) magántulajdon. Hatvan éves egyhelyben topogás után (az 1940-1950 közötti periódus az ismert körülmények miatt nem kedvezett az épített környezet karbantartásának) a 21. század eleji gazdasági fellendülés a létezô épületállományt is megcélozó beruházások kibontakozását kötelezôen feltételezi. Visszatérnek a figyelem központjába a történeti városközpontok épületei - a maguk, de a helyük értéke miatt is, akkor is ha a két említett politikai döntés nagyon csökkenti a beavatkozások minôségét és hatékonyságát. Különösen érvényesek a fentebb mondottak az általunk történeti környezetként kezelt szerényebb örökségértékû ingatlanok esetében, melyeket a 19. század második, vagy a 20. század elsô felében alakítottak mai formájukra.
III. PROBLEMS WE HAVE TO FACE
III. PROBLEME, CONFRUNTÃM
III. MINDENNAPOS GONDJAINK
At the moment we have to deal with a series of problems, which (A) are part of the special approach of the conservation activity, (B) depend on the willingness of society to "normalize life" in the maintenance of the built environment too, as well as (C) acceleration of life, based on the IT development, mainly starting from the last decade of the last century. For example: (A1) The legislation of public tenders is set up for new investments, presuming preliminary technical documentations of sufficient detail, necessary for the correct appreciation of the works to be carried out.
În momentul de faøã ne confruntãm cu o serie de probleme, care (A) øin de specificul muncii de reabilitare, (B) depind de nivelul de pregãtire a societãøii faøã de revenirea la normal ši din punctul de vedere al întreøinerii mediului construit, respectiv (C) sunt legate de accelerarea super-exponenøialã în ultimul deceniu, odatã cu informatizarea vieøii cotidiene, a ritmului de derulare a evenimentelor. Pentru exemplificare: (A1)Legislaøia privind organizarea licitaøiilor în domeniul public este elaboratã pentru investiøii noi, presupunând documentaøii tehnice detaliate, furnizând informaøii necesare
CU
CARE
NE
Pillanatnyilag egész sor kérdéssel szembesülünk, melyek (A) az örökségfelújító munka velejárói, (B) függvényei a társadalom felkészülésének és viszonyulásának az épített környezet karban-tartásának normalizálódásához, továbbá (C) kapcsolódnak az események alakulásának szuper-exponenciális üteméhez, mely a mindennapi életnek a múlt század utolsó évtizedében kiteljesedett informatizálásával jár együtt.. Példaképpen: (A1) – A közpénzek elköltésére vonatkozó tenderkiírások törvényes keretei az új beruházásokra vonatkoznak, megfelelôen részletes mûszaki
Tusnad 2005
Baia Mare
The current legislation does not specify enough reserves (including of time) regarding extensive and difficult preliminary research of the historic value of the buildings. Regulations do not take into consideration the necessary time needed by the creditor to prepare the tender, the time needed for the compilation of the offers, by the research-design documentations or of the execution itself (also the tenderers give up preliminary investigations because of lack of time). Major changes of the contracts are usually not accepted, although the results of research, carried out parallel with the execution would impose that. (A2) – The building permits for the restoration of historic buildings are issued without preliminary studies and research, which later will change the authorized solution (building physics and biology, etc). (A3) – There are no generally accepted solutions for every category of restoration problems (for example: is the filling at the roof level, provisionally disposed of, of historic value or not? Every structural element has to be examined for the research, and by replacing it afterwards, the unadvisable seismic overload is restored, diminishing the ventilation of the timber structure). (A4) – The regulations - if there are any -, regarding the specialized assistance are ignored (archaeological assistance at underpinning, geotechnical research etc.). (A5) – The restoration of the built heritage includes commercial financing, the investment laws however differ from the ones related to churches. (B1) – The society is not willing to offer financial support or time for advanced studies and research (even less for thorough research) - building history research often requires thousands of working hours, often deteriorating finishes of the building. (B2) – The lack of information of society regarding the time needed for the research and its value; (B3) – Due to the lack of social demand, there are no research units or special laboratories for the analysis of the historic buildings: components of the materials, material and technological compatibility tests (all kinds of porous mortar are sold for millions of Euro, which retain salts and eliminate
Tusnad 2005
aprecierii corecte a lucrãrilor de executat. Legislaøia actualã nu prevede surse financiare ši timpul necesar pentru investigaøii preliminare corelate cu dimensiunea, complexitatea ši valoarea de patrimoniu a imobilelor vizate. Reglementãrile nu vizeazã raportul just dintre timpul de pregãtire a licitaøiei de cãtre ordonatorul de credite ši cel necesar pentru elaborarea ofertelor, a documentaøiilor de cercetare-proiectare ši a execuøiei propriu-zise (ofertanøii renunøând de regulã la investigaøii preliminare); rar existã modalitãøi de acceptare pentru modificãri majore a contractelor de prestãri de servicii sau de antreprizã, rezultate în urma investigaøilor efectuate în paralel cu execuøia. (A2) Autorizaøiile de construire în domeniul reabilitãrii construcøiilor istorice sunt eliberate fãrã a pretinde studii ši cercetãri - adeseori - hotãrâtoare pentru soluøiile de reabilitare autorizate (studii de fizica ši biologia construcøiilor etc.). (A3) Nu existã metodologii larg acceptate pe categorii tematice de reabilitare (de exemplu: este sau nu valoare de patrimoniu umplutura la nivel de pod (?), care se eliminã provizoriu, deoarece este obligatorie parcurgerea fiecãrui element de structurã, capãt de grindã din lemn, iar refãcând-o se reašeazã suprasarcina, seismic contraindicatã, diminuând ši ventilaøia materialului lemnos); (A4)Se respectã întâmplãtor prevederile - dacã sunt - de asigurarea asistenøei de specialitate (asistenøã arheologicã pentru studiu geotehnic etc.). (A5)Reabilitarea patrimoniului construit civil presupune ši finanøãri orientate spre profit, astfel cã legile care guverneazã derularea investiøiilor în acest caz fiind altele, decât cele care ordoneazã restaurarea lãcašurilor de culturã sau cult. (B1) Investitorii nu sunt dispuši sã aloce surse financiare ši sã accepte decalarea termenelor datorate studiilor ši cercetãrilor aplicative (cu atât mai puøin pentru cercetare de fond); de exemplu: studiile de parament nu arareori presupun eliminãri de detalii de finisaj ce înseamnã mii de ore de lucru. (B2)Lipsã totalã de preocupare pentru informarea ši conštientizarea publicului asupra importanøei studiilor ši cercetãrilor atât de necesare pentru realizarea unei restaurãri corecte, a duratei ši a costurilor acestora (B3) Din lipsã de comandã socialã nu existã unitãøi formate pentru investigaøii ši nici laboratoare specifice analizelor construcøiilor istorice: componentelor de
Baia Mare
dokumentációt feltételezve, melynek alapján az elvégzendô munkálatok megítélhetôk. A létezô törvénykezés nem hagy elegendô idô- és pénz-tartalékot az építmény örökségértékével kapcsolatos elôzetes vizsgálatokra. Az elôírások nem veszik tekintetbe a tényleges idôarányt a tender-kiírás elôkészítése, illetve az árajánlat elkészítése, a kutató-tervezô dokumentáció elôállítása, és a kivitelezés idôtartama között (a versenytárgyalás résztvevôi általában nem végeznek elôzetes vizsgálatokat); ritkán lehet lényegesen megváltoztatni a kutatótervezô, vagy a kivitelezési szerzôdést, amennyiben a kivitelezéssel párhuzamos vizsgálatok ezt megkövetelik. (A2) – A történeti építmények felújításának engedélyeztetésekor az engedélyezett megoldásokat menet közben gyakran megváltoztató (épületfizikai, épületbiológiai stb.) tanulmányokat nem kötelezô bemutatni. (A3) – Nincsenek széles körben elfogadott metodológiák felújítási kategóriák megoldására (például: örökségérték-e vagy sem a padlástöltés, melyet ideiglenesen eltávolítunk, amikor meg kell vizsgálnunk minden egyes fafödém-elem végét, de a töltést visszatéve újra megnô a földrengési szempontból ellenjavallt teher is, és a fa szellôztetésének is ártunk). (A4) – a szakellenôrzés gyakran bosszantóan formális (például a régész jelenléte az aláfalazásoknál, talajmechanikai vizsgálatoknál stb.). (A5) – az épített-örökség felújítása profitorientált finanszírozásokat is feltételez, az ilyenkor érvényes törvények eltérnek a mûvelôdési vagy vallási rendeltetésû épületek beruházásaira vonatkozóktól. (B1) – A társadalom nem hajlandó idôt és pénzt áldozni a történeti épületekkel kapcsolatos alkalmazott kutatásokra (az alapkutatásokra még kevésbé) (a fal- és födémkutatás gyakran több ezer órás burkolóanyag-eltávolítással jár). (B2) – A lakosság szinte semmit nem tud a kutatások és tanulmányok idôigényességérôl, illetve anyagi vonzatairól - ami még rosszabb, nem is történik semmi, hogy ilyen téren bármi is változzon. (B3) – A társadalmi igény hiányában nincsenek épületkutatásra szakosodott intézmények, és laboratóriumok sem, melyek a történeti épületek jellegzetes analíziseit, anyag és technológiakompatibilitási tesztjeit végeznék
humidity, without the chemical analysis of the salts). (B4) – There are no (or very few) craftsmen, competent in traditional technologies (who has the courage to trust unskilled workers, for example, in the restoration of the clay cover of the casamata from Oradea, without guaranteeing that the waterproof insulation is maintained). (B5) – Without the social demand specialists are few, as numbers and skills, and training programs organized by the authorities (see the revitalization of Romanian traditional schools of arts and crafts) are not successful. (B6) – The beginning of the economic recovery is characterized by entrepreneurs with low capital and limited sensibility towards historic values, leading to superficial restoration works, without research and documentation: a series of undocumented values are being destroyed right before our very eyes. (C1) – The time needed the documentation decreased spectacularly in the last two decades: from tens of years to tens of months. Of course, the necessary equipment changed as well, we manage to shorten certain phases, most of the equipment is improving the quality of work (deteriorated areas are identified with non-destructive methods, the structure is calculated more accurately, and the extreme situations are far better appreciated). (C2) – The time needed for the interventions has also decreased from tens of years to tens of months: the research-design contract for the Business Center Baia Mare was closed in July 2002 and the works were finished in December 2004.
materiale, testãri de compatibilitãøi de materiale ši tehnologice (se vând în øarã la valori de milioane eur tencuieli poroase reøinãtoare de sãruri ši eliminatoare de umiditãøi, fãrã sã fie efectuate analizele chimice ale sãrurilor). (B4) Meseriaši cunoscãtori ai tehnologiilor tradiøionale nu (prea) existã (de exemplu pentru restaurarea stratului de argilã peste cazematele cetãøii din Oradea cine are curajul sã se lase pe mâna unor necalificaøi, fiind vorba la urma urmei de izolaøie hidrofugã). (B5) Fãrã comanda socialã specialištii nu sunt formaøi nici numeric nici calitativ, iar programele lansate de autoritãøi nu sunt sprijinite de societate (vezi soarta generoasei idei de reabilitare a šcolilor tradiøionale românešti de Arte ši Meserii). (B6) Perioada de relansare economicã este scena pe care actorii principali sunt întreprinzãtorii cu capital redus ši care nu conštientizeazã valoarea obiectelor de patrimoniu forøând astfel reabilitãri superficiale de moment, nu de fond - fãrã cercetare ši documentare: se distrug o serie de valori ne-documentate - sub ochii noštri. (C1) Timpul necesar elaborãrii documentaøiilor în ultimele douã decenii a scãzut spectaculos: de la zeci de ani la zeci de luni. Desigur instrumentele de lucru s-au schimbat, reušim sã reducem substanøial alocat în trecut pentru o serie de lucrãri, fapt ce a determinat eficientizarea ši sporirea calitãøii procesului de cercetare ši proiectare (se identificã zone de materiale degradate prin metode nedistructuive, se calculeazã structura mai exact, ši se apreciazã mai corect pericolul real de depãšire a unor stãri limitã). (C2) Timpul acordat realizãrii intervenøiilor a scãzut de asemenea de la zeci de ani la zeci de luni: la Buisness Center Baia Mare contractul de cercetare proiectare s-a încheiat în iulie 2002, iar lucrãrile de execuøie s-au finalizat în decembrie 2004.
(országosan sokmillió euro értékû porózus vízpárologtató és sóvirágzásgátló habarcsot forgalmaznak, anélkül, hogy valaki is megvizsgálná vegyileg a só-kivirágzott épületeket. (B4) – Hiányoznak (szinte teljesen) a hagyományos technológiákat ismerô szakmunkások (példaképpen: a nagyváradi vár kazamatái agyagszigetelésének felújítását ki merné hozzá nem értôkre bízni - hiszen végsô soron vízszigetelésrôl van szó). (B5) – Társadalmi igény hiányában, a hatóságok kezdeményezései ellenére, a szakemberképzés megszervezése tárgytalan mennyiségileg és minôségileg egyaránt, (lásd a hagyományos kézmûipari iskolák visszaállításával kapcsolatos szépreményû kormányrendelet szomorú sorsát). (B6) – A gazdasági fellendülés kezdetének beruházói kevés tôkével és még kevesebb épített örökségérzékenységgel rendelkeznek (kutatás és dokumentálás nélküli felületes felújítást sürgetnek - tönkre is megy a szemünk láttára sok nem dokumentált érték). (C1) – Az utolsó két évtizedben a mûszaki dokumentációk elôállítási ideje látványosan csökkent néhány évtizedrôl néhány évre, majd hónapra; természetesen a mûszaki felszereltség is bôvült, sok fázist lerövidül, de inkább a minôség fele mozdult el a technika (a roncsolás-mentes kutatást biztosító mûszerek, a pontosabb számítást megengedô számítógépes programok, a határállapot-meghaladások pontosabb megítélése). (C2) – A beavatkozásokra szánt idô hasonlóan csökkent néhány évtizedrôl, néhány évre, vagy hónapra: a nagybányai Buisness Center esetében 2002 júliusában kötöttünk kutató-tervezô szerzôdést és 2004 decemberében a kivitelezett munkát átadták.
IV. FREQUENTLY ASKED QUESTIONS
IV. ÎNTREBÃRI CARE SE PUN
IV. FELVETôDô KÉRDÉSEK
Answers are sought to major questions on the restoration of the built heritage: (01)– is the restoration of historic buildings - as a generally accepted methodology in Europe, after 1964/ The Venice Charta - still in use or is it a new accelerated way to approach the interventions carried out on historic buildings (in parallel with the architectural survey: building history research, art history study, archaeological study, building physics and biology,
Se cautã rãspuns la întrebãrile esenøiale care privesc reabilitarea patrimoniului construit, astfel:
Az építet örökség felújításával kapcsolatos lényeges kérdésekre keresünk választ: (01) – Idôszerû-e a mûemlék-helyreállítás - Európában 1964-tôl általánosan elfogadott, a Velencei Charta által szentesített - "hagyományos módszere" vagy kialakulóban van egy új, ",gyorsított eljárás" (amely a helyreállítást részletes megvalósíthatósági tanulmány nélkül is kivitelezhetônek tartja, illetve a megvalósíthatósági tanulmány
(01) Mai este actualã Charta de la Veneøia ca ši metodologie general acceptatã în Europa, dupã anul 1964 pentru restaurarea monumentelor istorice, sau s-a format un nou mod de abordare mult mai accelerat de intervenøie asupra patrimoniului (se face în paralel cu releveul arhitectural: studiul parament, de
Tusnad 2005
Baia Mare
expertise on the load-bearing structure and others in a record time (3-6 months), with many researches carried out parallel with the execution, which lasts 6-18 months, including decisions made without a feasibility study or with a feasibility study not based on research)? (02)– is the traditional method called "the restoration of historic buildings" and the accelerated one "the conservation of the built heritage"? (03) – is the "traditional" method applied only to the exceptionally valuable monuments, and is the "accelerated" method used in the case of other historic buildings? (04) – can the quality of the full restoration of the built heritage (carried out with "accelerated" methods) be raised to the level of the restoration of the historic buildings from the 1970s-80s (where the "traditional" methods were applied)? (05) – what is the attitude of the protectors of the built heritage towards the historic buildings in towns, where like in the case of Baia Mare - over the medieval layers of relatively low artistic and technical value, new layers were built (these being modest as well) and the picture we see today was created in the second half of the 19th century; where the ensemble is extremely valuable, the details however, when taken separately, are of no great value? (06) – the detailed research of these numerous and modest values would cost as much as a trip to the moon! There are no funds - do many values get lost without research? (07) – how detailed must a documentation be? (is it compulsory to survey every window and door opening that had been filled up in all historic buildings? Can we re stitch a doorway used 100-300 years ago in a middle-class house, maybe filled up 30-150 years ago, which is not needed anymore, and the way it's been built up in the past reduce the load-bearing capacity to seismic activities, it cracks and is aesthetically disturbing?) (08) – do we move the population from the historic centers and create museums, to be on the safe side in the case of earthquakes (these ideas can be found to our best knowledge - in Italy and Greece), or do we keep only the façades and rebuild the entire interior structure (we've heard of recent anti seismic plans in Portugal)?
Tusnad 2005
istoria artei, arheologic, de fizica ši biologia construcøiilor, expertiza structurii portante ši altele, într-un timp record (3-6 luni), cu multe cercetãri desfãšurare în paralel cu execuøia, care este de 6-18 luni, presupunând ši decizii de restaurare luate fãrã studii de fezabilitate sau cu studii de fezabilitate acceptate fãrã cercetare)? (02) Denumirea metodei tradiøionale este "restaurarea monumentelor istorice" iar celei accelerate "reabilitarea patrimoniului construit"? (03) Metoda "tradiøionalã" este aplicatã numai monumentelor de calitate excepøionalã, iar la celelalte se aplicã variantã "acceleratã""? (04) Este posibilã ridicarea nivelului întregii activitãøi de reabilitare a patrimoniului construit (realizatã prin metode "accelerate") la nivelul activitãøii de restaurare a monumentelor istorice al anilor `70-`80 (la care s-au aplicat metode "tradiøionale")? (05) Care este atitudinea celor ce protejeazã patrimoniul construit faøã de monumente istorice orãšenešti, unde peste straturile medievale de valoare artisticã ši tehnicã relativ redusã s-au suprapus amprentele etapelor ulterioare, ši ele destul de modeste, forma lor de azi fiind cea configuratã în a doua a secolului XIX. Ansamblul este cel ce îi conferã valoare, în timp ce detaliile de multe ori sunt lipsite de interes. Care este atitudinea corectã într-o astfel de situaøie? Este ši cazul prezent aici la Baia Mare. (06) Cercetãrile amãnunøite ale acestor valori multe ši modeste ar valora cât o expediøie pe Lunã! Nu se gãsesc fonduri - iar fãrã cercetare se pierd multe valori! (07) Cât de detaliatã trebuie sã fie o documentare? (oare releveul tuturor golurilor de ušã ši fereastrã înziditã trebuie fãcut în toate casele declarate monument istoric? oare se poate reøese golul de ušã original sau cel practicat acum 100-300 de ani într-o casã de mic burghez, obturat acum 30-150 de ani, de care nu mai avem nevoie, iar modul actual de înzidire reduce simøitor capacitatea portantã la acøiuni seismice ši determinã fisuri în exploatare implicit aspect inestetic?) (08) În vederea asigurãrii siguranøei la acøiunile seismice vom muta populaøia din centrele istorice ši vom realiza muzee (sunt ši astfel de idei - dupã cunoštinøele noastre - în Italia, Grecia), sau pãstrãm doar faøadele, iar structura interioarã o refacem în totalitate (am auzit de recentele planuri antiseismice din Portugalia)?
Baia Mare
elkészítését kutatás nélkül is lehetségesnek látja? (Emellett, párhuzamosan az építészeti felméréssel, rekordidô - 3-6 hónap -alatt készül el a falkutatási, mûvészettörténeti, régészeti, épület-fizikai és -biológiai tanulmány, tartószerkezeti szakvéleményt stb., illetve több kutatást párhuzamosan végeznek a kivitelezéssel, amely 6-8 hónapig tart.) (02) – A "hagyományos módszer" neve "mûemlék-helyreállítás", a "gyorsított eljárásé" pedig "épített örökség-felújítás"? (03) – A "hagyományos módszert" esetleg a kiemelkedô értékû mûemlékek esetében alkalmazzák, a többiek esetében lehet (szabad) a "gyorsított eljárással" dolgozni? (04) – A "gyorsított eljárású" építettörökség- felújítási munkálatok színvonalát (értékvédelmi szempontok szerint) a 70-es, 80-as években végzett "hagyományos módszerû" mûemlékhelyreállítási munkálatok színvonalára emelhetjük-e vagy sem? (05) – Nagyszámú, de szerény örökségértékkel rendelkezô épületegyüttesek esetében milyen részletességgel kell a (sok részlet miatt költséges) kutatást végezni? (Mint pl. Nagybányán, a régi városközpontban, ahol a középkori, viszonylag alacsony mûvészi és mûszaki értékû rétegekre rátevôdtek az ezt követô korok lenyomatai, melyek szintén elég szerények - a mûemlék mostani formáját a 19. század második felében kapta, egységében nagy értékû, de egyenként kevésbé értékes részletekkel.) (06) – Ezen sok és apró értékek vizsgálata egy holdutazással ér fel anyagiakban! Nehezen találni pénzalapokat - kutatás nélkül pedig sok érték elvész! (07) – Milyen részletes legyen a dokumentálás? (Dokumentálni kell-e például egy mûemlék-házban minden befalazott ajtót, illetve ablakot? Összeszôhetô-e egy szerény polgári ház 100-300 évvel ezelôtt használt, eredeti, vagy akár használat közben megnyitott ajtaja, amelyet 30-150 éve összeszövés nélkül falaztak be, ma sem szükségesek, az össze nem szôtt nyíláskitöltések pedig érezhetôen csökkentik földrengés esetén a tartószilárdságot, repedeznek és esztétikailag is zavarók?) (08) – Földrengés esetén a biztonsági megoldás a lakosság kiköltöztetése és múzeumok kialakítása a történelmi központokban (ilyen lehetôségek merültek fel, tudomásunk szerint Olaszországban és Görögországban),
(09) – the time needed for thinking through the approach: is or isn't a minimum time needed for research and design? (10) – the simultaneity of the researches: if someone falls during the archaeological excavations while conducting some other study, we have to get used to it, or we just couldn't organize a normal activity; with other words: does a classical preparation time have to be ensured for the activities; these periods of time are required by unique activities - as every building is unique - or do some generally accepted approaches have to be drawn up, where all we have to do is to enter the data of the building we are currently working on? Has such a scheme been drawn up and we don't know about it, or is the drawing up of such a scheme really necessary? Keeping up with the pace of events - the decision-making will be on the spot and the performance under these improvised circumstances will be the selection criteria for the people involved in conservation? (11) – the development approach suggests the version applied at M2: partial demolitions and rebuilding with modern materials, technologies. In the case of M3, we forced the preservation of the building. During history, if one had such an amount of money, very probably a new house was built - with contemporary concept. If the historic volume is preserved, but the finishing is new, will the building still be a historic one? The load-bearing structure is kept, more exactly some of the historic fabric, because the historic conception is hard to be found. (12) – M3 - the doubling of the structure towards nr. 14: if our ancestors built without doubling the load-bearing structures at the boundaries of their properties, do we have the right to eliminate a major aspect of the built heritage: is it really the material the greatest heritage value, or is it the concept or a compromise? Who is responsible for the overload that causes damages in the neighbor's house: the structural engineer will assume responsibility only for the part he examined! (13) – it goes without saying: the access of the disabled people to the built heritage - major changes are made or it is declared: disabled people have no access
(09) Timpul necesar investigaøilor, al abordãrilor intelectuale: existã sau nu limitã inferioarã necesarã desfãšurãrii proceselor de cercetare-proiectare? (10) Simultaneitatea cercetãrilor: dacã la relevare se cade în gropile sãpate de arheologi, incidentul va fi considerat firesc, sau va demonstra lipsa calitãøii noastre de a organiza o activitate ca lumea; cu alte cuvinte: trebuie asigurat timpul clasic de pregãtire a activitãøilor? Acešti timpi sunt necesari pentru activitãøi specifice, dedicate fiecãrui obiectiv fiecare imobil fiind un unicat - sau se pot elabora reøete de abordare general valabile, în care se pot substitui datele de întrare specifice obiectivului studiat? O asemenea schemã este elaboratã ši numai noi nu štim de existenøa ei sau este bine sã se elaboreze? Ritmul de derulare al evenimentelor fiind din ce în ce mai accelerat - se va generaliza metoda deciziilor pe loc, acesta fiind criteriul de selecøie principal al participanøilor la procesul de reabilitare iar improvizaøia va deveni o practicã generalã? Este justificatã întrebarea în acest caz, cine se face responsabil pentru deciziile luate? (11) Procesul de dezvoltare indicã ca optimã varianta aplicatã la M2: demolãri parøiale ši completãri cu materiale ši tehnologii contemporane. La M3 am forøat pãstrarea clãdirii în substanøã. Probabil cã de-a lungul istoriei, dacã se dispunea de o asemenea sumã de bani, clãdirea ar fi fost demolatã ši se construia o casã nouã ce ar fi respectat moda epocii. Se pune întrebarea, în cazul în care structura portantã se pãstreazã integral sau parøial ši se reconstituie imaginea clãdirii cu finisaje noi, clãdirea îši mai pãstreazã oare valoarea istoricã ? (12) În cazul clãdirii M3 - dublarea structurii cãtre clãdirea vecinã: dacã predecesorii noštri au lucrat fãrã sã dubleze structurile portante la limita proprietãøii, avem noi dreptul sã eliminãm un aspect major de patrimoniu: oare materialul este valoarea cea mai mare de patrimoniu, concepøia sau un compromis între ele? Cine rãspunde pentru supraîncãrcãrile care produc pagube la vecini, inginerul constructor vrea sã fie responsabil doar pentru aportul sãu ! (13) Altã problemã actualã - accesul handicapaøilor. Se acceptã sã se facã transformãri majore pentru asigurarea accesului handicapaøilor sau se eliminã aceastã posibilitate (de exemplu la turnul pompierilor din Satu Mare)? (14) Care este atitudinea noastrã faøã
vagy a homlokzatok megôrzése és a belsô szerkezetet teljes újjáépítése (ilyen tervekrôl értesültünk Portugáliából)? (09) – Jogosult-e a szellemi munka leülepedési ideje: van-e vagy nincs alsó határa a kutató-tervezô tevékenységre szánt idônek? (10) – A vizsgálatok egyidejûsége: az épület felméréskor hozzá kell-e szoknunk, hogy a régészeti ásatások gödrei között botorkálunk, vagy nekünk kell jobban megszerveznünk egy vizsgálat-sort (?) más szavakkal: a klasszikus értelemben vett idôigénynek megfelelôen szükséges tervezni a munkálatokat (?) ezek az idôegységek egyedi tevékenységeket feltételeznek - mivel minden épület egyedi alkotás a maga nemében - vagy általános érvényû recepteket lehet találni, ahová csak be kell helyettesíteni minden épület specifikus adatait (?) ilyen séma létezik, csak mi nem tudunk róla, esetleg érdemes lenne elôállítani? Esetleg - hiszen az események felgyorsultak - általánossá válik a helyben döntés metódusa, a felújítók kiválasztásának kritériuma pedig az improvizált feltételek közötti performancia lesz. Jogos ebben az esetben a kérdés: kié itt a felelôsség és ki kéri számon? (11) – A fejlôdés iránya inkább az M2 objektumnál használt változatot sugallja: részleges bontások és modern anyagú, illetve technológiájú kiegészítések. Az M3 objektumnál erôltettük az épület megtartását. A történelem folyamán valószínûleg - ha valakinek ennyi pénze volt, új épületet épít, korabeli felfogásban. Ha maradnak a történeti arányok, a térfogat, de a burkolómunkák modernek, attól történeti marad az épület: persze a tartószerkezet megmarad, pontosabban valami a történeti anyagból, mert a történeti koncepciót alig érjük tetten. (12) – Az M3 objektumnál észlelhetô a szomszéd ház felé a szerkezetmegduplázása: ha ôseinknek úgy tetszett, hogy a tulajdonhatáron ne duplázzák a tartó-szerkezetet, van-e jogunk egy fontos örökségértéktôl megfosztanunk a házat: vajon az anyag a legnagyobb örökségérték, vagy a koncepció, esetleg a kettô közötti kompromisszum(?) ki a felelôs ha a túlterhelés a szomszédnál okoz kárt: tény, hogy az építômérnök azért szeretne felelni, amit megvizsgált! (13) – Vannak természetes követelmények: ilyen a mozgássérültek joga az épített örökséghez. Lényeges változtatásokat kell eszközölnünk, vagy
Tusnad 2005
Baia Mare
(for example the firemen's tower in Satu Mare). (14) – what is our attitude towards chimneys: burnt masonry that crack, that stain the plaster situated at the junction of load-bearing walls - clearly reduce the load-bearing capacity: it is a confession of the past - it is a heritage value: should we indeed rebuild these systems in the historic form, with historic materials and technologies? Or should we be content with stone frames around the cleaning holes of the chimneys? (15) – what is to be done with the parquet, what is to be done with the joinery: two of the typical structures of great patrimonial value. The plaster redone with modern materials, the filling above the vaults and ceilings, floor finishings, joinery and painting, all redone, even with traditional materials: what remains of the heritage? Where is the boundary, where one, who protects historic buildings, says: no more compromise will be made? Or some buildings will be preserved in open-air museums, or even in traditional houses (in situ) and we don't take care of the rest, being content with the ratio of built are-useful area, built volume-useful volume of the historic buildings? (16) – We accept the changing of all finishing materials as normal, but we demand preserved structure (endangering the safety - we let the poor engineers assume responsibility for the load-bearing structures), and we are
de cošurile de fum: zidãrii arse, care fisureazã, care murdãresc suprafaøa tencuitã, care dat fiind dispunerea la intersecøia zidurilor portante, reduc simøitor capacitatea portantã a pereøilor; este o mãrturie a trecutului, o valoare de patrimoniu; oare ar trebui sã le refacem în forma istoricã, cu materialele ši tehnologiile istorice, sau sã ne muløumim cu ancadramente de piatrã în jurul gurilor de curãøire a cošurilor de fum? (15) Ce se face cu parchetul, cu tâmplãria, cu tencuiala refãcutã netradiøional, cu umplutura peste boløi sau planšee planare, cu subansamblul de pardosealã, cu vopsitoriile ši zugrãvelile toate din materiale noi chiar dacã se adoptã tehnicile ši materialele tradiøionale? Ce rãmâne în final din obiectul de patrimoniu protejat? Unde este limita la care restauratorii monumentelor istorice spun: pânã aici, alte compromisuri nu se mai admit? Sau se pãstreazã câteva clãdiri în muzeele în aer liber, sau chiar în situ (casele tradiøionale) iar de restul nu ne ocupãm, muløumindune cu raportul suprafaøã construitãsuprafaøa utilã, volum construit-volum util al clãdirilor istorice? (16) Acceptãm, ca ši normalã schimbarea tuturor materialelor de finisaj, dar pretindem pãstrarea structurii portante (punând foarte probabil în pericol siguranøa imobilului ši lãsând sã rãspundã doar inginerii pentru pãstrarea valorilor de patrimoniu), în timp ce celelalte specialitãøi acceptã adoptarea soluøiilor contemporane, instalaøii super-moderne, finisaj super-modern (eventual grešim
nem minden értéket láthat belülrôl mindenki (például a szatmári tûzoltótornyot)? (14) – Mi a véleményünk a kéményekrôl: elégett falazatok, repedezett vakolatok, a vakolaton átütô korom, ráadásul a tartófalak kapcsolódásánál helyezkednek el, jelentôs mértékben csökkentve a tartószerkezet teherbíró-képességét, de örökségértéke elvitathatatlan! A kérdés az, hogy a történeti formájában, hagyományos anyagokkal és technológiákkal újítsuk fel ôket (?) vagy elégedjünk meg a kémények takarítónyílása körüli kôkeretek helyreállításával? (15) – Mi történik a parkettával, mi az asztalosmunkával: mindkettô nagy örökségértékû hordott szerkezet. A felületeket nem hagyományos anyaggal vakolják újra, a boltozatok, vagy síkfödémek feletti töltések, padlószerkezetek, asztalosmunkák, festések és mázolások, mindezek hagyományos de új anyagokból készülnek: mi marad az örökségbôl? Hol van a határ, amikor a mûemlékvédôk azt mondják: eddig volt, elég, több kompromisszumot nem szabad kötni? Vagy megmentünk néhány épületet szabadtéri múzeumokban, esetleg meghagyunk a saját helyükön (hagyományos házként), a többivel nem törôdünk, megelégedve a beépített felület/hasznos felület, beépített térfogat/hasznos térfogat aránnyal, melyek a történeti épületekre jellemzôek? (16) – Természetesnek tartjuk az összes burkolóanyag cseréjét, de elvárjuk a tartószerkezet megtartását (veszélyhelyzetbe hozva - valószínûleg - az épület biztonságát, és az építômérnökre hárítva a teljes felelôsséget az örökségértékek
appreciated: super-modern installations and finishing (we may be somewhat mistaken about the compatibility of the historic load-bearing structure with the modern finishing materials - but who is perfect?). But if the idea of historic structure is abandoned, the whole house can be forgotten! There is only one step from the new house to the new urban
doar sub aspectul compatibilitãøi între materiale istorice de structurã portantã ši materialul modern de finisaj - dar cine este perfect)? Dacã se renunøã ši la structura istoricã atunci poate renunøa la casã în totalitate! Iar de la o casã nouã este doar un pas la structura urbanã nouã (oare de ce sã ne chinuim cu strãzile înguste ši cu raze imposibile de curburã) - ši iatã patrimoniul
megôrzéséért), a felújítást végzô szakembercsoport sikertörténetébôl így csak az építômérnök marad ki: a burkolatok, az épület-gépészet szupermodern és szuper-jól mûködik (esetleg tévedünk egy kissé a modern burkolóanyagok és a történeti tartószerkezetek kompatibilitását illetôen, de ki a tökéletes manapság)? Persze, ha a történeti tartószerkezetrôl is
Tusnad 2005
Baia Mare
structure (why should we struggle with narrow streets and impossible curves) and the built heritage completely disappears. (17) – it goes the other way round as well, with outdoor toilets, houses without water and electricity, like the wooden churches` preservation. We haven't chosen the presentation of the wooden churches from Maramures by chance - they are present in museums, but it's also an alive culture, continuation of the traditional skills - a model worthy of our attention.
dispãrut în totalitate! (17) Se poate ši invers, cu toalete gravitaøionale, case lipsite de apã ši curent electric, cum sunt bisericile din lemn? Autenticul sã fie suveran. Nu întâmplãtor am ales sã fie prezentatã cultura de lemn a maramurešenilor, care este prezentã în muzee, ši în producøii pãstrate in situ la care se adaugã šansa ca în acest domeniu dat fiind celebritatea construcøiilor ši faima constructorilor sã asistãm la fenomenul pozitiv de continuitate a meseriilor tradiøionale - un model la care este bine sã cugetãm.
lemondunk, az egész ház örökségértéke odalesz! Az új háztól pedig csak egy lépés az új városszerkezet (merthogy miért is kínlódjunk a görbe, szûk utcákkal) és lám felszámoltuk az épített örökséget egészen! (17) – Lehetséges ennek fordítottja is, pottyantós illemhelyekkel, víz és villany nélküli házakkal, mint a fatemplomoknál láttuk? Nem véletlenül mutatjuk be a máramarosiak fa épített-kultúráját: jelen vannak azok a múzeumokban is, de ôk a hagyományos építkezési módhoz talán minden régiónál jobban ragaszkodnak olyan modell ez, aminél érdemes elidôzni egy kicsit.
V. ATTEMPTS TO GIVVE ANSVERS
V. RãSPUNSURI POSIBILE
V. LEHETSÉGES VÁLASZOK
Examining some of the areas: the complicated structure, old uses of the less valuable constructions of the built heritage from historic towns (flues and chimneys, lintels, water penetrated brick foundations, wooden floor structures, altered openings in load-bearing masonry, architectural details requiring ample restoration works: joinery, plastering, historic floors), we try to synthesize the major issues: (a) – we have to be aware of all the heritage values, which are to be found in buildings and need protection, from the stratification of the roofing of the defensive casemates to the murals in churches; (b) – the heritage values need to be more appreciated (if only the image of the building element in question is to be protected, or together with the invisible parts, keeping some of the old elements in their entirety: house with and without chimney, floor (slab) made of timber beams or reinforced concrete; (c) – the preservation level of the physically and morally used details - of heritage value - has to be stated, details, which are aesthetically, functionally and technically damaging: plaster with salt deposit, chimneys with burnt brick, which color the paint, too heavy fillings over the wooden floor, that overloads the structure; (d) – the quantity and quality of the building history research will be decided, being limited strictly in accordance with the quantity of historic material, which can be removed for the studies and research (no material can be removed for examination from the Hagia Sofia), with the available amount of time and money, as well as with the right appreciation of
Analizând o parte din problematica subansamblurilor inadecvate, a funcøiunilor depãšite, a modalitãøilor diverse de reabilitare ale imobilelor cu componente mai puøin valoroase din cadrul patrimoniului construit din orašele istorice (canale ši cošuri de fum, arce buiandrugi, fundaøii din cãrãmidã în pânze freatice, planšee din grinzi de lemn alãturate, înzidiri ši desfaceri de goluri în zidãrii portante, detalii arhitecturale - structuri purtate de clãdiri - solicitând restaurãri ample: tâmplãrii, tencuieli, pardoseli istorice), încercãm sintetizarea problemelor principale: (a) sunt de conštientizat toate valorile de patrimoniu înglobate în construcøii necesare de protejat, de la stratificaøia umpluturii de protecøie a cazematelor de apãrare la picturile murale bisericešti; (b) se cere o evaluare realistã, mult mai amplã a valorilor de patrimoniu (dacã este de protejat doar imaginea subansamblului în cauzã, sau ši pãrøile nevãzute, pãstrându-se eventual componentele unor funcøiuni depãšite în întregime): casã cu ši fãrã cošuri de fum, planšeu (dalã) din grinzi de lemn alãturate ši din beton armat; (c) este necesarã selectarea elementelor, cu sau fãrã valoare de patrimoniu - uzate fizic sau moral, care dãuneazã estetic, funcøional sau tehnic, care se justificã sã fie pãstrate: tencuieli cu depuneri de sãruri, canale de fum cu cãrãmizi arse care coloreazã zugrãveala, umpluturi peste planšee din lemn prea grele care majoreazã peste limita admisã sãgeata planšeului; (d) se va decide asupra anvergurii cantitative ši calitative a studiilor de parament, limitarea fãcându-se în strictã
Áttekintve néhány bonyolultabb kialakítású, funkcionalitásában meghaladott, a történeti városok épített örökségéhez sorolt - viszonylag alacsonyabb örökségértékû épületekhez tartozó - problémásabb szerkezeti alegységet (kémények és füstcsatornák, kiváltó ívek, talajvízben fekvô téglalapok, csapos-gerendafödémek, nyílásátalakítások tartófalakban, alapos felújításra szoruló épületszerkezeti alegységek: történeti asztalosmunkák, vakolatok, padlózatok), megpróbáljuk összesíteni a fô problémákat: (a) – tudatosítani kell minden megóvásra érdemes, az épületekbe beépített örökségértéket, a védelmi szerepet játszó kazamaták töltésének rétegrendjétôl a templomi freskókig; (b) – szükség van az örökségi értékek sokkal átfogóbb megbecslésére (az épület alegységeinek csak a látható részeit kelle védeni, vagy azok láthatatlan, rejtett értékeit is, esetleg túlhaladott funkcionális programok megôrzését is): épületek kéménnyel, vagy anélkül, csapos-gerendás vagy vasbeton síkfödémek; (c) – részletes pontosítások szükségesek a fizikai és erkölcsi kopásnak kitett örökségértékkel bíró - részegységek megóvásának fokozataira, melyek hatása esztétikailag, funkcionálisan, vagy mûszakilag ártalmas: sótartalommal telített vakolatok, a festést színezô, kiégett füstcsatornák, a fafödémeket túlterhelô és lehajlásukat a megengedettet túlhaladó töltések; (d) – döntésnek kell születnie a falkutatás mennyiségére és minôségére vonatkozóan, egyértelmûen pontosítva a vizsgálati célból feláldozható történeti anyagmennyiséget (mondják, hogy a Hagia Sofia
Tusnad 2005
Baia Mare
the necessary consolidation in view of succeeding within the 15% limit of "diverse and unforeseeable" matters and in accordance with the importance of the scientific information lost with the abandonment of a part of the studies; (e) – the details of the documentation of the heritage values - mainly the values, which have to be sacrificed -, the work phases and the specialists have to be agreed. Those, who tender for the research-design phase need to know the financial and time limits, taking into consideration the minimum information necessary for the specifications and list of works to be done - for example in consolidating the timber floor structures, is all the filling taken away for research and restored after the research phase is finished, until the execution phase, or the necessary works are estimated based on visual research, leaving the contractor to bear the consequences? (f) – an extended pre-feasibility study, preliminary research studies and expertise, as well as a feasibility study are recommended - the pre-feasibility study for a restoration-consolidation work consists of the evaluation of the time and financing necessary for the researches and is compiled before the finalization of the feasibility study (what kind of decisions can be made within a feasibility study in the case of a historic building without a preliminary research? Who assumes responsibility for the lack of time or financing, if as a consequence hetitage values get destroyed or if some wrong information appear in connection with the feasibility of the proposed interventions?) (g) – The admitted interventions: what can be eliminated from the heritage values and what are the compulsory coordinates to be kept - the historic floors will be preserved, but the structure of the floor in the basement will be completely replaced (that's what we call heritage protection?) (h) – The minimum limits have to be settled, which are needed for safety during the works and are in connection with the derogations from the valid technical laws; for example: the use of the lime mortar M10 is allowed (as opposed to M25) in the rebuilding of the load-bearing wall made of 1,8 m wide stone masonry in a castle with a ground floor and an upper floor, which has vaulted floors and is situated in the F seismic area;
Tusnad 2005
concordanøã cu aprecierea cantitãøii de material istoric posibil de sacrificat pentru studii ši cercetãri (se zice cã nu se admit luãri de probe din materialul bisericii Hagia Sofia), corelat bineînøeles cu timpul ši resursele financiare disponibile, precum ši cu obligativitatea de a permite aprecierea corectã a volumului de consolidare necesarã în vederea încadrãrii în limitele procentului de 15% de "diverse ši neprevãzute" ši în strictã concordanøã cu importanøa informaøiei štiinøifice pierdute prin renunøarea asupra unei pãrøi de studiu; (e) este obligatorie precizarea gradului de detaliere a documentãrii valorilor de patrimoniu, mai cu seamã în cazul elementelor care se sacrificã, precizarea fazei în care ea trebuie sã fie fãcutã, corelat cu factorul timp ši fonduri disponibile - fiind obligatorie descrierea ne-discriminatorie pentru toøi ofertanøii care participã de licitaøia de cercetareproiectare a tuturor condiøionãrilor impuse de subiect øinând cont de cuantumul de informaøii minime necesare aprecierii volumului de lucru de cãtre cei care fac oferte de execuøie (exemplu: în vederea luãrii deciziei de consolidare a planšeelor din grinzi de lemn se eliminã în faza de cercetare toatã umplutura ši se reface pânã la etapa de execuøie sau se apreciazã cantitatea în baza cercetãrii vizuale, lãsând pe seama executantului sã suporte consecinøele?) (f) -se recomandã modificarea cadrului conøinut al documentaøiilor în fazele incipiente de proiectare, prefezabilitate ši fezabilitate, studii ši expertize preliminarii studiul de prefezabilitate pentru o lucrare de restaurare-consolidare va conøine obligatoriu evaluarea fondurilor financiare ši de timp necesare cercetãrilor, care se elaboreazã anterior definitivãrii studiului de fezabilitate (În altã ordine de idei ce fel de decizii se pot lua în cadrul studiului de fezabilitate pentru o construcøie istoricã fãrã o cercetare prealabilã? Cine rãspunde de ne-acordarea fondurilor de timp sau financiar, dacã în consecinøã se distrug valori de patrimoniu sau dacã studiul dezinformeazã în legãturã cu fezabilitatea intervenøiilor propuse?) (g) limitele intervenøiilor admise: care sunt elementele la care se poate renunøa în cazul unui imobil cu valoare de patrimoniu ši care sunt elementele obligatorii de pãstrat - se va pãstra cota istoricã de cãlcare, dar structura planšeului în subsol se va schimba în totalitate (asta da protecøie de patrimoniu!) (h) sunt de fixat limitele minime, strict necesare legate de siguranøa în exploatare,
Baia Mare
templomában tilos a kutatáshoz szükséges próbavétel), de a rendelkezésre bocsátható idôt és pénzügyi alapokat is, betartva az elôre nem látható helyzetekre szánt maximálisan 15%-s értéktúllépést, a megerôsítési munkálatok kivitelezési fázisaiban, szoros összefüggésben az elveszett információk tudományos értékével a falkutatás részleges elvégzésének esetén; (e) – meg kell állapítani az örökségértékek különösen a feláldozandó részek dokumentálásának részletességét, azokat a munkafázisokat, amelyeknek során ezek megtörténnek, illetve megnevezni a szakember-kategóriákat, akik ezeket elvégezik, a rendelkezésre álló idô és pénz függvényében; fontos ez a versenytárgyaláson részt vevô minden kutató-tervezô számára, de a kivitelezi versenytárgyaláson részt vevôk számára is, hogy megfelelô részletességgel becsüljük fel az elvégzendô munkamennyiséget (példa: a fafödémek megerôsítése érdekében történô vizsgálatnál eltakarítjuk a teljes töltésmennyiséget és ideiglenesen visszahelyezzük a kivitelezésig, vagy kibontás nélkül - szemrevételezés alapján becsüljük fel a károsodásokat és a beavatkozásokat, hagyva, hogy a kivitelezô viselje a következményeket?) (f) – tanácsos a jelenleginél jóval részletesebb megvalósíthatósági elôtanulmányt, kutatási tanulmányokat és vizsgálati szakértôi véleményeket, illetve megvalósíthatósági tanulmányt elôírni: egy helyreállításimegerôsítési munkálat megvalósíthatósági elôtanulmányának kötelezôen tartalmaznia kell a kutatásra fordítható anyagi és idôbeni forrásokat, melyeket a megvalósíthatósági tanulmány véglegesítéséig kell elvégezni (csak zárójelben: milyen döntések születhetnek a történeti épületek esetében a megvalósíthatósági tanulmányok keretében, ha nincsenek vizsgálati eredmények(?) ki tehetô felelôssé, ha ilyenkor örökségértékek semmisülnek meg, illetve ha félretájékoztatunk a megvalósíthatóságot illetôen? (g) – a megengedhetô beavatkozási keret: mi az, amirôl le lehet mondani az örökségértékekbôl és melyeket kell kötelezôen megôrizni - ragaszkodunk sokszor a történeti járószinthez, de az alagsor padlózatát kicseréljük (és büszkék vagyunk örökség-érzékenységünkre); (h) – pontosítani kell a használatban lévô épület minimális biztonsági szintjét, illetve az új épületekre vonatkozó - mûszaki elôírások által rögzített - szinthez viszonyított engedményeket - például megengedhetô az
The evaluation mentioned above has to be carried out by a team of experts (archaeologists, art historians, architects, experts in load-bearing structures, installation experts, experts in historic gardens, art restorers authorized according to the law) and has to be treated separately for every aspect regarding the functional or technical aesthetic restoration of the building. VI. GENERAL PROPOSITIONS Technical-financial standards have to be changed as well, in connection with: (a) – the harmonization of the technical legislation on the restoration of historic buildings with EU standards and the special conditions from our country drawing up technical standards in as short period of time as possible, specifying if these, about modern constructions, are valid for historic building elements (wooden floors, tolerating the deformation of the plastered surfaces etc.); (b) – a detailed framework for the interventions from different phases of the technical-economic documentation: prefeasibility study, preliminary research studies and expertise, feasibility study, technical design, details regarding the execution of the works, workbooks, technological sheets, sequence of works, programming of the determining phases, restoration journals (technical book), sheets for examining the behavior of the constructions in time; (c) – detailed methodology for issuing the building permits for the research phases, for which interventions are needed on the buildings; (d) – the compulsory compilation before issuing the building permit - of the building physics (humidity and salt deposit caused by humidity) research and biological study (especially the biological degradation of the wooden material) for all historic buildings; (e) – setting up central and/or regional databases of the buildings - to increase the level of competency in the interventions carried out on the built heritage.
respectiv derogãrile faøã de prevederile legislaøiei tehnice în vigoare; de exemplu: se admite utilizarea mortarului de var M10 (faøã de marca minimã M25) la rezidirea peretelui portant din zidãrie de piatrã de 1,8 m lãøime la un castel de P+1E, având planšee boltite ši situatã în zonã seismicã de grad F; Aprecierile de mai sus trebuiesc fãcute în exclusivitate de o echipã de experøi în domeniu (expert arheolog, expert istoric de artã, expert arhitect, expert inginer de structuri portante, expert de instalaøii în construcøii, expert în grãdini istorice, experøi restauratori de componente artistice atestaøi conform legislaøiei în vigoare), ši vor fi respectate de cei implicaøi în procesul de proiectare ši execuøie VI. PROPUNERI GENERALE Sunt necesare modificãri de acte normative tehnico-financiare legate de: (a) armonizarea legislaøiei tehnice aferente reabilitãrii fondului istoric de clãdiri cu normele EU ši cu condiøiile specifice din øarã - elaborare de norme tehnice în termen cel mai scurt posibil, de fãcut precizãri legate de valabilitatea normelor tehnice aferente construcøiilor moderne asupra subansamblurilor istorice (sãgeøi ale planšeelor din lemn, toleranøe privind planeitatea suprafeøelor tencuite etc.); (b) conøinut cadru detaliat ši pe tipuri de intervenøii pentru diferite faze de documentaøii tehnico-economice: studiu de prefezabilitate, studii ši expertize de cercetare preliminarii, studiu de fezabilitate, proiect tehnic, detalii de execuøie, caiete de sarcini, fiše tehnologice, grafice de ešalonare, programãri de faze determinante, jurnalul de restaurare (cartea tehnicã), fiše de urmãrire în timp a comportãrii construcøiei; (c) -elaborarea metodologiei detaliate de eliberare a autorizaøiilor "de construcøie" pentru fazele de cercetare, care necesitã intervenøii la fondul construit existent; (d) obligativitatea elaborãrii - anterior eliberãrii autorizaøiei de construire - pentru toate construcøiile istorice a studiilor de fizica (mai ales cele legate de umiditate ši de analiza sãrurilor angrenate de circulaøia umiditãøii) ši de biologia construcøiilor (mai cu seamã cele aferente biodegradãrii materialului lemnos); (e) necesitatea înfiinøãrii, respectiv dezvoltãrii bazei de date centrale ši/sau regionale asupra imobilelor - pentru a spori gradul de competenøã a intervenøiilor asupra patrimoniului construit.
M10-es minôségû mészhabarcs használata (M25-ös helyett) az 1,8 méter vastagságú kôfal újrafalazásánál egy emeletes, boltozott födémmel rendelkezô épületnél, F intenzitású földrengés-övezetben; A fenti megállapításokat kötelezô módon egy multidiszciplináris szakértôcsoportnak kellene megtennie (törvény szerint minôsített régész, mûvészettörténész, építész, tartószerkezet, épületgépész, történeti kert, képzômûvészeti értékrestaurátor szakértô) és függetlenül kezelni minden más - az objektum esztétikai, funkcionális, vagy mûszaki vonatkozású felújítási kérdésétôl. VI. ÁLTALÁNOS JAVASLATOK Szükségesek a mûszaki-pénzügyi elôírásmódosítások a következôkkel kapcsolatban: (a) – a történeti épületállomány felújítására vonatkozó mûszaki törvénykezés egyeztetése az EU normákkal, illetve az ország különleges helyzetével - mûszaki elôírások kidolgozása, illetve a modern épületekre vonatkozó mûszaki elôírások használhatóságának pontosítása a történeti épületek esetében (a fedélszerkezetek lehajlása, a sík vakolt felületek síkból való kitérésének lehetôsége stb. ; (b) – részletes és a beavatkozás típusok szerint megfogalmazott kerettartalom: megvalósíthatósági elôtanulmány, elôzetes szakértôi vélemények, kutatási tanulmányok, megvalósíthatósági tanulmány, mûszaki és kivitelezési dokumentáció, technológiai leírások, kivitelezési ütemtervek, minôségellenôrzési grafikonok, helyreállítási napló (épület-könyv), az épület viselkedésének idôbeni követése; (c) – a meglévô épületállomány esetében beavatkozást feltételevô vizsgálati - kutatási szakasz számára az "építési" engedély kiadásának részletes metodológiája; (d) – az épületfizikai (elsôsorban a talajnedvesség, és a felvett sótartalom vizsgálatára vonatkoztatva) és épületbiológiai (különös tekintettel a faanyag biológiai károsodásaira) szakértôi vélemények kötelezôvé tétele a történeti épületekre kiadott építési engedélyeknél; (e) – országos és/vagy regionális - történeti épületekre vonatkozó - adatbázisok létrehozása, illetve kiteljesítése, az épített örökégi beavatkozások hatékonyságának fokozása érdekében.
Tusnad 2005
Baia Mare
INSTEAD OF CONCLUSIONS
ÎN LOC DE CONCLUZII
KÖVETKEZTETÉSEK HELYETT
1. – Interventions on built environment are connected with the major changes of the turn of the millenniums. The ones who are lucky enough to work in Romania (Transylvania), are benefiting from even more difficult conditions: to create miracles while they are surrounded by the most impoverished society, less cared for built environment, and although they are small in numbers they face huge attraction to work in Western Europe. 2. – The situation is desperate, there is a need of everybody's help. There is a task for society, authorities and for specialists. 3. – The task of society is the longest, being also the most difficult. The cultural background as well as good taste needs to be controlled within the built environment. It is loads to be done, its enough to think on the cultural subjects within the undergraduate education system, the amount of teaching about the built heritage in comparison to other elements of culture: literature, music, arts. 4. – The role of the authorities is to (a) create and coordinate technical legislation and (b) to set up institutions capable to ensure the implementation of the law. (The situation is quite complicated, because the Ministry of Culture has no experience in creating technical regulations for the building industry, and the Ministry of Public Works has no specialists in historic buildings). It should be done immediately - at least to start the process. 5. – The specialists will do the work provided that society recognizes more and more the value of this activity, and the authorities ensure the necessary background, forcing the implementation of the regulations.
1. – Intervenøiile asupra mediului construit sunt afectate de transformãrile majore de la cumpãna mileniilor. Cei care au noroc sãši desfãšoare activitatea în România (Transilvania) beneficiazã de condiøii suplimentare autentice de a crea minuni: cea mai sãrãcitã populaøie din regiune are ocazia de a se chinui cu mediul construit cel mai puøin întreøinut, specialištii în numãr cel mai mic fiind ispitiøi în cea mai mare mãsurã de piaøa de muncã apuseanã. 2. – Situaøia fiind disperatã, este nevoie de intervenøia noastrã a tuturor. Existã de lucru pentru societate, autoritãøile ši speciališti. 3. – Partea societãøii este de durata maximã, fiind ši cea mai grea. Sunt de stãpâniøi, legat de mediul construit: cultura generalã ši bunul gust la nivel de societate. Este mult de fãcut, fiind suficient doar sã ne gândim la disciplinele de culturã generalã în învãøãmântul pre-universitar: ce pondere are cultura construitã faøã de celelalte elemente de culturã: literaturã, muzicã, arte plastice. 4. – Partea autoritãøilor se leagã de (a) creieri ši armonizãri de legislaøii tehnice, respectiv (b) creieri de instituøii capabile sã forøeze aplicarea legislaøiei (Situaøia nu este ušoarã, deoarece Ministerul Culturii nu are experienøã în elaborare de reglementãri tehnice în domeniul industriei construcøiilor, iar Ministerul Lucrãrilor Publice nu dispune de speciališti în domeniul construcøiilor istorice). Termenul este imediat - cel puøin pentru lansarea activitãøii. 5. – Specialištilor le revine munca în condiøii în care (sã sperãm) societatea recunoašte din ce în ce mai mult aceastã activitate, iar autoritãøile asigurã condiøii necesare, forøând aplicarea regulamentelor.
1. – Az épített környezeti beavatkozásokat is áthatják az ezredforduló nagyméretû változásai. Azok, akiket az a szerencse ér, hogy Erdélyben tevékenykedhetnek, igazi csodateremtô többletfeltételeknek örülhetnek: a környék legjobban elszegényített népe a legkevésbé karbantartott épített örökséggel bajlódhat, legkisebb számú szakembereit pedig a legnagyobb kísértések érik a tôlük nyugatra esô munkaerôpiacon. 2. – A helyzet kétségbeejtô, mindnyájunk összefogására szükség van, a társadaloméra, a hatóságokéra és a szakemberekére. 3. – A társadalom része a leghosszabb lejáratú és a legnehezebb. Az épített környezetre vonatkozó közízlést, általános kultúrát kell jobbítani az egész társadalom szintjén. Rengeteg a tennivaló: elég, ha arra gondolunk, hogy az általános- és középiskolákban az általános kultúrát adó tantárgyak esetében az irodalom, a zene vagy a képzômûvészet mellé fel kellene venni az épített kultúrát is. 4. – A hatóságok dolga (a) a törvényteremtés, harmonizálás, illetve (b) intézményesítés az ellenôrzés hatékonnyá tételére (a helyzet bonyolult, mert a mûvelôdési tárca nem rendelkezik elégséges tapasztalattal az építôipari mûszaki törvénykezések vonatkozásában, a területrendezési tárcától pedig idegen a történeti épített kultúra és nem is ismeri). A határidô sürgeti, már ami a tevékenység elkezdését illeti. 5. – A szakemberek feladata a munka, olyan körülmények között, hogy (reményein szerint) azt a társadalom elismeri, a hatóságok pedig megteremtik a körülményeket és köteleznek a szabályok betartására.
Tusnad 2005
Baia Mare
MITRU Ildikó - P A S K U C Z S t e f a n
The Rehabilitation Project "Business Center Millennium III Baia Mare" Proiectul de reabilitare "Centrul de Afaceri Millennium III Baia Mare"
1. PROJECT HISTORY
1. ISTORICUL PROIECTULUI
The project "Business Center Millennium III Baia Mare", finalized at the end of 2004, belongs to a much larger program of the City Hall Baia Mare, the rehabilitation of the historic center of the city. A contest of ideas was organized in 1999 with the aim of selecting a team, that would draw up a zonal urban plan. The gesture had a special significance, because the future image of the original center of the town Rivulus Dominarum was taking shape through this documentation. This was the moment when the square was re-organized, it lost its destination of a junction, the eastern side accessible to cars was closed with the intention to create a large pedestrian zone.
Proiectul "Centrul de Afaceri Millennium III Baia Mare", finalizat la sfâršitul anului 2004 face parte dintr-un program mai amplu al Primãriei Baia Mare de a reabilita Centrul istoric al orašului. În anul 1999 a fost organizat un concurs de idei al cãrui scop era selecøia unei echipe care sã întocmeascã planul urbanistic zonal. Gestul avea o semnificaøie deosebitã deoarece prin aceastã documentaøie se elabora imaginea pe care urma s-o dobîndeascã, bine înøeles în timp, nucleul original al orašului Rivulus Dominarum. Era momentul în care se decidea reorganizarea pieøii, renunøarea la destinaøia ei de nod de circulaøie rutierã, închiderea accesului carosabil din direcøia esticã cu intenøia de a realiza aici o zonã pietonalã majorã.
The proposed image for the Libertatii Square during the contest of ideas in 1999 The premises of the next phase of the project have thus been created, namely the PHARE 2000 Program. The Chamber of Commerce Maramures submitted a documentation to the National Agency for Regional Development for the financing of a Business Center, a project, which was classified as unrealistic and taking the applicant into consideration, ineligible. However, moving this center into the historic area of the city offered the possibility of maintaining the project. This was a great opportunity to combine the two elements, the creation of a Business center and the rehabilitation of a historic part of the city. A team led by the City Hall of Baia Mare drew up the application and the feasibility study in a record time – the application in 9 days and the study in a month. Inexplicably, the project, which initially classified as one of the 3 top projects in the country, was set aside as "reserve" and considered to be too daring and risky, yet eligible. In the following year the project came to be discussed again, thus on the 15 th of July 2002 the Local Council Baia Mare approved of the assignment of the project and of the extension of the team, which drew up the documentation. On the 23rd of August 2002 the project was validated and the tender for the execution of the works was started.
Imaginea propusã pentru Piaøa Libertãøii la concursul de idei din 1999 S-au creat astfel premizele pentru etapa urmãtoare a proiectului ši anume, Programul Phare 2000. Camera de comerø ši industrie Maramureš a înaintat Agenøiei Naøionale de Dezvoltare Regionale, spre finanøare, o documentaøie pentru un Centru de afaceri, un proiect catalogat drept nerealist, ši care dat fiind aplicantul, era neeligibil. În schimb, mutarea acestui centru în zona istoricã a orašului oferea posibilitatea menøinerii proiectului. A apãrut astfel oportunitatea îmbinãrii celor douã elemente, realizarea unui Centru de afaceri ši reabilitarea unei secvenøe din zona istoricã. O echipã coordonatã de Primãria din Baia Mare, a întocmit aplicaøia ši documentaøia de fezabilitate în termen record – fiša în 9 zile ši fezabilitatea cu studiile aferente întro lunã. În mod inexplicabil, proiectul care iniøial clasat în topul primelor 3 proiecte ca ši punctaj naøional din cele 20, a trecut la categoria "rezerve" fiind considerat prea îndrãzneø ši riscant, totuši eligibil. Revine în discuøie dupã un an astfel cã în 15 iulie 2002 Consiliul Local Baia Mare aprobã atribuirea proiectului ši extinderea echipei de elaborare a documentaøiilor. În 23 august 2002 proiectul este validat ši este lansatã licitaøia pentru executarea lucrãrilor.
Tusnad 2005
Baia Mare
On the 19th of November a firm from Budapest, Harcon was declared winner from the four companies, that presented their offers. The execution of the works started on the 12th of February 2003, the value of the works reaching 4,377,000 euros.
În 19 noiembrie din cele patru societãøi care au depus oferte, firma Harcon din Budapesta a fost declaratã cîštigãtoare. Execuøia lucrãrilor a început în 12 februarie 2003, valoarea lucrãrilor era de 4.377.000 euro.
2. PROJECT DESCRIPTION
2. DESCRIERE PROIECT
a) Design theme The challenges of this project were multiple considering the dimensions of the works. First of all, one had to respect the strict criteria imposed by the financer regarding the content of the documentation, which had to comply with both the European and the national legislation, secondly the terms were extremely strict and exact and finally the complexity and responsibility required by the rehabilitation of historic buildings had to be taken into consideration. The first step was to determine the design theme, according to which the functional requirements of a business center had to adjust to the existing deteriorated historic buildings, situated in an area, which is in bad shape and arouses no interest. The square was a devalued urban space, a junction in conflict with the pedestrian, whose interests were minimized in the process. The square was taken into the project as M4 Business Plaza, an open-air exhibition area, which reminded of the market organized there from the Middle Ages to the first half of the 20th century, a space dedicated mainly to the man and not to the car, having thus an impact on the life of the entire local community. The car traffic was moved to the western part of the square, where a parking space was created, necessary for the Business center and all the other neighboring buildings. The project was a real opportunity to re-start activities, which are compatible with the historic area, to win back an urban space through the re-organization of the Libertatii Square and last but not least to restore buildings, which had been declared listed building.
a. Tema de proiectare Provocãrile acestui proiect au fost multiple dat fiind anvergura lucrãrii. În primul rînd, era necesar sã fie respectate criteriile stricte impuse de finanøator în ceea ce privešte cadrul conøinut al documentaøiilor care trebuiau sã satisfacã simultan legislaøia europeanã ši cea naøionalã, în al doilea rînd termenele deosebit de stricte ši strînse, ši nu în ultimul rînd complexitatea ši responsabilitatea ce o presupune o lucrare de reabilitare a monumentelor istorice. Primul pas l-a constituit definitivarea temei de proiectare care presupunea adaptarea cerinøelor funcøionale ale unui centru de afaceri la condiøiile date, clãdiri existente declarate monumente istorice, grav avariate, situate întro zonã decãzutã ca stare ši interes. Piaøa publicã era un spaøiu devalorizat urbanistic, un nod de circulaøie rutierã aflat în relaøie conflictualã cu pietonul, ale cãrui interese erau minimalizate ca pondere. Ea a fost integratã în proiect ca ši obiectivul M4 – Business Plaza, un spaøiu expoziøional în aer liber, ceea ce amintea de tîrgul care a funcøionat aici din perioada medievalã pînã în prima jumãtate a sec. al XX – lea, redevenind un spaøiu dedicat cu preponderenøã omului ši nu mašinii, cu impact ši asupra vieøii întregii comunitãøi locale. Circulaøia rutierã a fost deplasatã pe latura vesticã a pieøii, unde s-a amplasat parcarea necesarã atît funcøionãrii Centrului de afaceri precum ši celorlalte clãdiri aflate în zonã. Proiectul a constituit o realã oportunitate pentru relansarea activitãøilor compatibile cu zona istoricã, recîštigarea unui spaøiu urbanistic, prin reorganizarea Pieøei Libertãøii ši nu în ultimul rând pentru creerea unui reper de restaurare a clãdirilor declarate monumente istorice.
Market-day in the Libertatii Square at the end of the 19 th century The Business center has three pavilions, M1, M2 and M3, placed on the eastern side of the square. The distance between the buildings, which form the Business center, does not impede the good functioning of the center, especially if we take into consideration the optical fibre network, which allows virtual communication and the optimization of the information flow. The three unused buildings, each with
Tusnad 2005
Baia Mare
Zi de târg în Piaøa Libertãøii la sfâršitul secolului al XIX - lea Centrul de afaceri este organizat în sistem pavilionar cu trei module M1, M2,respectiv M3, poziøionate pe latura esticã a pieøii.Relativa distanøã între corpurile de clãdire ce compun centrul de afaceri nu constituie o problemã de funcøionare dacã avem în vedere echiparea pieøii cu o reøea pe fibrã opticã ce va permite comunicarea virtualã ši optimizarea circulaøiei informaøiilor. Cele trei clãdiri, fiecare cu parter ši etaj, cu
ground floor and upper floor, with basement and attic had to be consolidated and restored. Putting them into function again meant not only the creation of an optimal infrastructure for business, but also the saving and appreciation of the historic patrimony. The main objective of the project is the establishment of a favorable business environment equipped with a state-of-theart technology in an infrastructure with identity, historic and at the same time modern character, rooted in the origins of the town, loaded with meanings, that only a historic building can give to a place: consistence, seriousness, durability, in one word TRADITION.
subsol ši mansardã neutilizate, erau într-o stare ce necesita lucrãri de consolidare ši restaurare. Refuncøionalizarea lor a constituit pe lîngã asigurarea unei infrastructuri optime pentru derularea afacerilor ši o operaøiune de salvare ši de punere în valoare a patrimoniului istoric. Obiectivul principal al proiectului îl constituie creerea unui mediu favorabil de afaceri dotat cu tehnicã de ultimã orã într-o infrastructurã cu identitate, cu caracter istoric ši modern în acelaši timp, cu rãdãcinã în originea temporarã a orašului, cu încãrcãtura de semnificaøii pe care doar un monument istoric îl poate oferi ca spaøiu : consistenøã, seriozitate, durabilitate într-un cuvînt TRADIØIE.
The following spaces have been realized within the Business center:
În cadrul centrului de afaceri au fost realizate :
– 1145 sq m of office space divided into 36 units with a total of 200 places of work – 4 conference halls on 302 sqm (with 194, 59, 34 and 14 places) provided with adequate equipment – 6 showrooms for exhibitions and sales (for short- or medium-term rental) on 611 sqm – a square of 13635 sq m, from which a pedestrian zone of 10684 sqm for a promenade, recreation, exhibitions, cultural and tourist events etc. b) Short history, description The origin of the city Baia Mare is in connection with the gold-bearing deposits and the favorable natural environment (relief, climate), which motivated the establishment of a settlement. Archaeological discoveries certify the presence of man in this area as far back as the Neolithic (the andesite axe from Tautii de Sus), the Bronze Age (the bronze axe from Ilba and Firiza) and the Iron Age. We can speak of an urban settlement as a typical Transylvanian phenomenon in the Middle Ages after the occupation of Pannonia by the Hungarians. The first document, that mentions Baia Mare, preserved in a sumarized transcript from 1479 at the Capitol in Oradea, dates back to 1329, from the time of Charles Robert's reign, when the county lord of both Baia Mare and Baia Sprie received permission to colonize the area in view of mining. The feoff included these two settlements and 44 villages lying south of Sasar. Baia Mare received the status of "civitas" in 1329 and was an urban settlement, where the extraction and processing of ores, as well as other trades and commercial activities were predominant. The privilege act of 12 October 1347, preserved in its entirety, was issued by King Louis I of Anjou's Chancellery, in which the free royal town Rivulus Dominarum received the following rights: – to elect the county lord and vicar – to organize trials absolute freedom of the customs – to organize a 15-day market for St. Martin's – to erect a fortification around the town (with board fences) The document certifies the existence of a settlement with a well-organized administration and an active mining and commercial life. On the 1st of March 1376 the same king confirmed with a new document the privileges offered in the
– spaøii pentru birouri în suprafaøã de 1.145 mp distribuite în 36 de unitãøi cu o capacitate totalã maximã de 200 de posturi de lucru. – 4 sãli de conferinøã, în suprafaøã de 302 mp. (de 194, 59, 34, respectiv de 14 locuri) dotate cu echipamente adecvate. – 6 show-room-uri concepute în sistem de expoziøii cu vînzare (închiriate pe termen scurt sau mediu) în suprafaøã de 611 mp. – o piaøã de 13.635 mp. din care 10.684 mp. suprafaøã pietonalã pregãtitã pentru promenadã, recreere, evenimente expoziøionale, culturale, turistice etc. – 52 de locuri de parcare autovehicule ši biciclete b. Scurt istoric, descriere Originea orašului Baia Mare se leagã de zãcãmintele aurifere ši de cadrul natural favorabil (relief, climã) care au constituit motivaøia constituirii aici a unei ašezãri. Descoperirile arheologice atestã prezenøa omului în aceste locuri începând din neolitic (toporul de andezit din Tãuøii de Sus), epoca bronzului (toporul de bronz de la Ilba ši cel din Firiza) ši din epoca fierului. Vorbim de ašezarea urbanizatã în acest spaøiu ca de un fenomen tipic transilvãnean în perioada medievalã dupã ocuparea Panoniei de cãtre maghiari. Prima diplomã care amintešte de Baia Mare, pãstratã întro transcripøie rezumativã din 1479 la Capitlul din Oradea, dateazã din 1329, din timpul domniei lui Carol Robert, în care judelui comun al orašelor Baia Mare ši Baia Sprie i se permite colonizarea teritoriului în vederea mineritului. Feuda care cuprindea cele douã ašezãri mai conøinea 44 sate situate la sud de Sãsar. Baia Mare primešte statutul de "civitas" în 1329 ši se constituie ca o ašezare urbanã cu predominanøa activitãøilor de extragerea minereurilor, prelucrarea lor precum ši a altor activitãøi meštešugãrešti ši comerciale. O dovedešte actul privilegial din 12. oct. 1347, de data aceasta pãstrat, emis de cancelaria regelui Ludovic I de Anjou, în care orašului liber regesc Rivulus Dominarum 5 se oferã urmãtoarele drepturi: – sã-ši aleagã în mod liber judele primar ši parohul – dreptul de judecatã – libertatea absolutã a vãmii – dreptul de a organiza de Sf. Martin tîrg de 15 zile – dreptul de a se fortifica (cu palãnci ši garduri) Documentul atestã deja existenøa unei ašezãri cu o organizare administrativã bine pusã la punct, cu un minerit ši o viaøã comercialã activã. Acelaši rege întãrešte în 1 martie 1376, cu o nouã diplomã, privilegiile date în documentul
Tusnad 2005
Baia Mare
former act, determining at the same time the borders of the town. The protected heritage of Baia Mare consists of the historic center, which includes a building complex, that surrounds a square built in the 14th-15th centuries, in the late Gothic period. The plots around the square preserve the medieval system of land distribution in towns, having numerous analogies in towns from Transylvania and Central Europe. The lots are narrow and deep, their perpendicular axis being on the side of the square; the houses occupy the entire breadth of the lot facing the street or the square. The entrance is an outside corridor with a large and high portal, opened on the façade of the house facing the square. The outside corridor leads into the internal yard. The axis of the corridor is parallel to the axis of the lot and that of the house, having side entrances, which lead to the basement or the ground floor of the building. The façades facing the square form a continuous front, interrupted by narrow streets here and there, with a picturesque aspect characteristic of medieval towns. In most of the cases the buildings have a basement, a ground floor and an upper floor. The original lots are approx. 8,53 m broad, relatively narrow, the way we can see on the eastern side of the square, on the corner of the V. Lucaciu Street. In the course of the town's history, the exterior of the buildings changed many times: in the 18 th century the houses burnt down in a fire, and the documents speak of owners, who left their homes and of the extremely deteriorated buildings, which were taken over by new owners, who had the necessary capital for the repairs. Thus we can explain the successive transformations of the buildings here, even if we don't have direct declarations regarding the fate of each and every building at our disposal. The plan of the square is approximately rectangular with the longitudinal axis east-westwards, parallel to the River Sasar, which used to be the place of open-air markets. Ten streets lad out from the square with their perpendicular axis on the side of the square. The current architectural aspect of the center dates from the 19th century; important changes were carried out at the beginning of the 20 th century and between 1950-70. Numerous supporting structures, architectural pieces or even entire buildings were however preserved in situ from the Middle Ages.
anterior, stabilindu-se ši hotarele orašului. Zona de patrimoniu protejat a municipiului Baia Mare se constituie din centrul istoric, alcãtuit dintr-un complex de clãdiri ce mãrginesc o piaøã ce s-a conturat în cursul secolelor al XIV-lea ši al XV-lea, în epoca goticului târziu. Parcelarea din jurul pieøei mai pãstreazã sistemul medieval de împãrøire a terenurilor intravilane orãšenešti, având numeroase analogii în orašele din Transilvania ši din Centrul Europei. Loturile sunt înguste ši adânci, au axa perpendicularã pe latura pieøei, cu casele de locuit ocupând toatã lãøimea parcelei spre stradã respectiv piaøã. Accesul se realizeazã printr-un portal lat ši înalt al gangului, deschis pe faøada dinspre piaøã a casei. Gangul traverseazã clãdirea etajatã ši ajunge în curtea interioarã. Axul gangului este paralel cu axul lotului ši cu cel al casei, având uši laterale care se deschid spre subsolul sau spre parterul clãdirii. širul faøadelor dinspre piaøã formeazã un front continuu, întrerupt pe alocuri de strãzi înguste, cu aspect pitoresc caracterictic orašelor medievale. În majoritatea cazurilor clãdirile sunt cu subsol, parter ši etaj. Parcelarea originalã poate fi caracterizatã prin loturi de circa 8,53 m lãøime, relativ înguste, cum se pãstreazã pe latura esticã a pieøei, spre coløul dinspre strada V. Lucaciu. În cursul istoriei orašului, clãdirile ši-au schimbat de mai multe ori înfãøišarea: un incendiu cãtre mijlocul secolului al XVIIIlea a mistuit casele de aici, iar documentele consemneazã atât pãrãsirea imobilelor de vechii proprietari, cât ši ruinarea periculoasã a edificiilor care au fost preluate apoi de noi proprietari care dispuneau de capitalul necesar pentru repararea acestora. Numai astfel putem explica transformãrile succesive care sunt surprinse în legãturã cu clãdirile de aici, chiar dacã nu dispunem totdeauna de mãrturii directe privind soarta fiecãrui imobil în parte. Piaøa are un plan aproximativ dreptunghiular cu axa longitudinalã pe direcøia est-vest, paralelã cu rîul Sãsar, care servea ca ši loc de desfãšurare a târgurilor øinute în aer liber. Din piaøã, cu axe perpendiculare pe laturile acesteia, pornesc zece strãzi. Actualul aspect arhitectural al centrului municipiului dateazã din secolul XIX, cu modificãri importante efectuate la începutul secolului XX, respectiv între anii 1950-70, dar se pãstreazã în situ în numãr mare de structuri portante, piese arhitecturale, sau chiar clãdiri întregi din epoca medievalã.
Map of the town in 1783
Harta orašului la 1783
Tusnad 2005
Baia Mare
Market-day in the Libertatii Square at the end of the 19 th century
Zi de târg în Piaøa Libertãøii la sfâršitul secolului al XIX lea
M1 THE BUILDING AT NR.2 VASILE LUCACIU STREET
M1 IMOBILUL DE PE STRADA VASILE LUCACIU NR. 2
In March 1798 the town council of Baia Mare registered that the inn Aquila Nigra/ Schwarzes Adler/ Fekete Sas/ Vulturul Negru/ Black Eagle, a partially wooden building could not meet the lodging requirements anymore. The objective of the construction works from 1801-1803 was to unite the two wings of the existing building and to enlarge it with another storey. In the long process of design and endorsement, Zsigmond Perinlich's project was chosen. A building with an upper floor was erected consisting of representative halls both on the ground floor and upper floor and of 3 guest rooms preceded by a corridor on the upper floor. Throughout the decades, as long as the inn was used, no major changes were made to the building, only some outbuildings were added to it: a shed, a stable and a well.
În luna martie a anului 1798 consiliul orašului Baia Mare consemneazã cã hanul Aquila Nigra / Schwarzes Adler / Fekete Sas / Vulturul Negru, o clãdire construitã parøial din lemn nu mai face faøã nici obligaøiilor de cazare.Obiectivul construcøiilor din 1801-1803 a fost unificarea celor douã corpuri de clãdire existente ši amplificarea lor cu încã un nivel. În cursul proiectãrii ši avizãrii îndelungate a fost adoptat proiectul semnat de Zsigmond Perinlich. S-a construit o clãdire cu etaj cuprinzând sãlile reprezentative, atât la parter cât ši la etaj ši 3 camere de oaspeøi precedate de un coridor la etaj. În cursul deceniilor cât a funcøionat hanul, modificãri majore nu s-au produs, s-au amenajat doar dependinøele: šopronul pentru care, grajdul ši fîntâna cu cumpãnã.
The Aquila Nigra Inn in Zsigmond Perinlich's project When the town hall was moved into the building of the inn in 1872, the façade of the former inn was re-made and – before 1894 – the wing of the building was attached to the previously built floor, without a projection on the façade facing the yard. In the same period, between 1872-1899 the access to the upper floor was created and the older one was demolished, and the outside corridor with the gate was lengthened. The extension, the ground floor from the 19th century was enlarged with an upper floor in 1921. The Town Hall was moved out of the
Hanul Aquila Nigra în proiectul semnat de Zsigmond Perinlich Strãmutarea primãriei în anul 1872 în fostul han a impus refaøadizarea ši – înainte de 1894 – alipirea corpului, pe atunci de un singur nivel ši fãrã rezalit spre curte. Tot în perioada 18721899 a fost realizat actualul acces la etaj ši desfiinøat cel vechi, iar gangul porøii a fost prelungit. În anul 1921 se supraetajeazã extinderea pe parter de la sf. sec al XIX lea. Primãria, în anul 1950 se mutã, clãdirea fiind ocupatã de aceastã datã pînã în anul 1999 de Judecãtorie ši Oficiul de Carte Funciarã.Clãdirea se împarte în nivelele de subsol, parter ši etaj. Planul nivelelor
Tusnad 2005
Baia Mare
building in 1950 and the Court of Law and the Land Registration Office occupied it until 1999. The construction consists of a basement, ground floor and upper floor. The plans of the different levels differ, the most complex being the plan of the ground floor. This plan is U-shaped, the corner projections looking onto the internal yard. The basement of the building has an L-shaped plan. The plan of the roof follows the U-shaped plan of the upper floor, the coping of the eastern projection being lower than the main coping. A quadratic spire stands in the middle of the roof coping of the main wing, the structure of which rises from the roof structure. THE M2 BUILDING LIBERTÃØII SQUARE NO. 17 In the course of its existence, the different spaces of the building functioned as rooms, shops, small workshops and storerooms. The documents do not mention the owners of the building on the southern corner before Martin Lazar, that is prior to the 19th century. We can only assume on the basis of certain stylistic arguments, that Martin Lazar re-constructed the building and the works were finished with the building of an upper floor after his death until around 1840. This upper floor, which gave the current shape of the building, persisted until 1900/1908, when the edifice was given a new eclectic façade.
The building with a partial basement, ground floor and upper floor follows the course of the street, having a main entrance from the square, side entrances from the Mihai Viteazu Street and access through an outside corridor into the courtyard of the building. Here stood the staircase, that led to the upper floor, to the basement and to the annexes.
Tusnad 2005
Baia Mare
diferã, cel mai complex fiind cel al parterului. Parterul are un plan în formã de U, rezalitele de coløuri desfãšurîndu-se spre curtea interioarã. Subsolul clãdirii se desfãšoarã într-un plan în formã de L. Planul acoperišului urmãrešte planul în formã de U al etajului, coama rezalitului de est fiind la o cotã de nivel mai joasã decât cea principalã. În mijlocul coamei acoperišului corpului principal se înaløã o turlã cu plan pãtrat, a cãrei structurã se našte din šarpantã. M2 CLÃDIREA DIN PIAØA LIBERTÃØII NR. 17 În cursul existenøei sale, diferitele spaøii ale clãdirii au funcøionat ca locuinøã, spaøii de desfacere a unor produse meštešugãrešti, ateliere mici, respectiv spaøii destinate depozitãrii de marfã. În legãturã cu imobilul studiat din coløul sudic al cvartalului, izvoarele scrise nu permit conturarea inechivocã a proprietarilor anteriori lui Martin Lázár, deci anteriori secolului al XIX-lea. Presupunem doar pe baza unor argumente stilistice cã acesta a refãcut clãdirea ši cã reconstrucøia sa a fost continuatã prin supraetajarea terminatã de vãduva sa pînã cãtre 1840. Aceastã supraetajare care a conturat volumul actual al edificiului a persistat pînã dupã 1900/1908 când edificiul a fost refaøadizat în stil eclectic.
Clãdirea cu subsol parøial, parter ši etaj, urmãrešte traseul stradal, având un acces principal din piaøã, accese în spaøiile de pe strada Mihai Miteazu ši printr-un gang în curtea imobilului. Aici se afla scara de acces la etaj ši subsol ši anexele gospodãrešti.
M3 THE LENDVAY HOUSE
M3 CASA LENDVAY
The house is situated on the northern side of the old center (the Libertatii Square), close to the north-eastern corner. Its name has been officially confirmed in 1881, when the town unveiled a commemorative plaque, which can still be seen on the house, to honour the memory of the actor, Marton Lendvay, who was born in this house. This – is one of the best-known buildings of the town due to the reputation of the owners and the architectural conception of the house, which was one of the most taxing constructions at that time. The plan of the house is a quadrilateral trapezoid, the shorter side facing the main square. The building has three levels - basement, ground floor and upper floor. Initially there were two buildings, both being single-storey houses. The most important transformation of the building was the merging from the 19th century, when the ground floor of the house was extended northwards for the staircase leading to the upper floor, when the median rooms were turned into an outside corridor. On this occasion an upper floor was added to the building.
Casa se situeazã pe latura nordicã a centrului vechi (Piaøa Libertãøii), în apropierea coløului nord-estic. Denumirea s-a consacrat definitiv în anul 1881, când orašul, pentru cinstirea memoriei actorului Marton Lendvay, nãscut în aceastã casã, dezvelešte placa comemorativã aflatã ši astãzi pe clãdire. Monumentul este una dintre cele mai cunoscute clãdiri ale orašului, fapt datorat, pe de o parte, reputaøiei familiei proprietare ši, pe de altã parte, concepøiei arhitecturale a casei, care în vremea respectivã era una dintre cele mai pretenøioase clãdiri din oraš. Planul clãdirii se înscrie într-un patrulater trapezoidal, baza micã fiind cea orientatã spre piaøa centralã. Clãdirea se desfãšoarã pe trei nivele – subsol, parter ši etaj. Iniøial aici au existat douã clãdiri, iniøial pe parter.Cea mai importantã transformare a clãdirii este comasarea din secolul al XIX-lea, când parterul clãdirii a fost extins spre nord pentru scara de acces la etaj, încãperile mediane fiind transformate în gang.Cu aceastã ocazie clãdirea a fost supraetajatã.
Our attitude in the restoration of the M1, M2, M3 and M4 buildings was determined by their value (proved in the historic studies) and state. It was also influenced by such factors as time, financial resources and legal framework. Thus in the case of M1, the re-constitution of the Baroque period – defined in the project from 1801, supported by the wall researches and photographs from the second half of the 19th century – was our objective. In the case of M2 with its uncontrolled extensions and M3, partially in ruins, we began a thorough restoration process – a remake with contemporary architectural elements, which would emphasize the value of the historic building; consolidated, conserved and restored in substance and image. The organization of the square was a much-debated question. Numerous opinions were expressed by urban planners, historians and residents. We chose the variant, which respects the image and atmosphere from the second half of the 19th century and meets the current needs. We think that the intervention is only an intermediary phase, which needs to be perfected in the future.
Atitudinea noastrã de restaurare faøã de cele patru subiecte M1,M2,M3 respectiv M4, a fost determinatã de valoarea acestora (evidenøiatã în studiile istorice întocmite) ši de starea clãdirilor. Ea a fost implicit influenøatã ši de parametrul timp, resursele financiare ši cadrul legislativ. Astfel, în cazul monumentului M1 reconstituirea perioadei baroce – definitã în proiectul din 1801, argumentatã de studiul de parament ši imaginile fotografice din a doua jumãtate a sec. al XIX-lea – a fost obiectivul urmãrit. În cazul clãdirilor M2, parazitatã de extinderi necontrolate ši M3, parøial în ruinã, ne-am asumat o poziøie de restaurare sincerã – o refacere cu accente de arhitecturã contemporanã care sã punã în valoare monumentul istoric, consolidat, conservat ši restaurat în substanøã ši imagine.Amenajarea pieøii a fost subiectul cel mai disputat. Aici, au existat nenumãrate opinii exprimate de urbaništi, istorici ši cetãøeni. Am optat pentru varianta care respectã cel mai mult imaginea ši atmosfera din a doua jumãtate a sec. al– XIX-lea ši rãspunde nevoilor actuale. Considerãm cã intervenøia este o etapã intermediarã, ea fiind perfectibilã în viitor.
Tusnad 2005
Baia Mare
GÁLOCSY Elek
Historic Building Conservation at Baia Mare Mûemlék felújítás Nagybányán
"Twelve masons wondered and wondered…" (from the ballad of Kelemen Komuves)
„Tizenkét kômíves azon tanakodék…"
The Romanian Ministry for European Integration called in September 2002 for applications regarding the execution of the "Business Centre Millennium III. Baia Mare" project in the centre of Baia Mare, involving the rehabilitation of three listed buildings and turning them into modern offices, as well as the renovation of the historic main square's pavement and traffic. On the international tender, our company, the Harcon Co. won the execution.
Románia Európai Integrációs Minisztériuma 2002. szeptemberében pályázatot írt ki, tárgya a Nagybánya (Baia Mare) fôterén létesítendô „III. Évezred Kereskedelmi Központ Nagybánya” megnevezésû projekt, mely tartalmazta három védett mûemléképület felújítását és korszerû irodákká történô átalakítását, valamint a történelmi fôtér közlekedésének és burkolatának felújítását. A nemzetközi tenderen cégünk, a Harcon Rt. nyerte a kivitelezés jogát.
MAIN DATA:
FÔBB ADATOK
Contracting parties: The Romanian Ministry for European Integration as the client, Harcon Co., Budapest as contractor The Baia Mare City Council as beneficiary Value of contract: ~4 million EUR Commencement of execution: May 6, 2003. Completion of works: December 17, 2004.
Szerzôdô felek: Románia Európai Integrációs Minisztériuma, mint megbízó Harcon Rt. Budapest, mint vállalkozó Nagybánya Városi Tanács, mint kedvezményezett Szerzôdés összege: ~4 millió EUR Kivitelezés kezdete: 2003. május 6. Kivitelezés befejezése: 2004. december 17.
In accordance with the tender, the contract was drafted respecting the conditions set by FIDIC.
A szerzôdést – a tender kiírás szerint – a FIDIC kidolgozta feltételeknek megfelelôen kötötték meg.
THE CONTRACTOR
A KIVITELEZÔ
Harcon Co. is a general construction company from Budapest, with a cca 25 million EUR yearly turnover, international experience and 7 years of presence on the Romanian market. Our company has participated in the rehabilitation of several historic buildings as general contractor, including the transformation of a 1836 building designed by József Hild in Akadémia street, Budapest into a ministerial office building, and the rehabilitation of the Hungarian ambassador's residence in Bucharest. We have contracted several Hungarian and Romanian sub-contractors.
A Harcon Rt. Budapest egy évi ~25 millió EUR forgalmú, általános építôipari vállalkozó cég, nemzetközi tapasztalatokkal, 7 éves romániai piaci jelenléttel. Cégünk több mûemléki épület felújításában vett részt, mint generálkivitelezô, többek közt Budapesten az Akadémia utcában egy, 1836-ban Hild József által tervezett épület minisztériumi irodaházzá történô átalakításában, és Bukarestben a magyar nagykövet rezidenciájának felújításában. A munkába romániai és magyarországi alvállalkozókat vontunk be.
THE TASK AND HE EXECUTION
FELADAT ÉS MEGVALÓSÍTÁS
The three historic buildings had to be transformed into modern offices according to the needs of the third millennium, as well as made suitable for other public uses. The decayed, abandoned, neglected area had to be transformed into a wellordered, functional and exigent environment.
A három mûemléképületet a harmadik évezred igényeinek megfelelô, korszerû irodaházzá és egyéb közösségi célú felhasználásra kellett alkalmassá tenni. Az elmúlt évtizedekben lepusztult, elhagyott, elhanyagolt területet rendezett, használható, igényes környezetté kellett alakítani.
The M1 building, the former Black Eagle hotel, which once hosted the poet Sándor Petofi, is a significant building situated in the south-eastern corner of the square. The building with 2500 m2 floor area (underground level, ground level, first floor and attic) is a significantly decayed mixed masonry construction. The cellar and the ground floor have brick vaultings, while the first floor has an oak upper slab. The roof structure is also made of oak, constructed by highly skilled Transylvanian carpenters.
Az M1 jelzésû ház – a volt Fekete Sas fogadó, ahol egykor Petôfi Sándor is megszállt – a tér délkeleti sarkán álló jelentôs épület. Mintegy 2500 m 2 szintterületû (pince, földszint, emelet, tetôtér) állagában erôsen leromlott, vegyes falazatú építmény. A pince és földszint feletti födém téglaboltozatos, míg az emelet feletti födém tölgyfagerendás. A fedélszék szintén tölgyfából készült, az erdélyi ácsok szakértelmét dicsérô faszerkezet.
Tusnad 2005
Baia Mare
Rehabilitation started with the reinforcement and consolidation of structures and the construction of a reinforced concrete construction, which was difficult to join to the extant ones, and was meant to protect against earthquakes. Building in the heating, cooling, electric and low voltage installations and preserving at the same time the condition of the structure was very difficult. This is a problem present in all historic building conservation works. In my experience, this problem is still being tackled by trying to adapt the extant structures possessing high architectural values to the new technology, and not the other way around. In the courtyard a conference hall was created by transforming extant buildings and constructing a new one. In this case we had to solve significant foundation problems. The M2 building has an about 1300m2 floor area (underground level, ground level, first floor and attic). From the statical point of view, the building with regular mixed masonry is in the best condition of the three. The cellar is covered partially by a brick vaulting, partially by a reinforced concrete slab constructed after the collapse of a previous floor. The ground floor has a brick vaulting, while the first floor has a slab of oak girders. The attic structure is also made of oak, partially in a good state, partially needing replacement.
The cellar and the attic were not used, but in the courtyard a new wing was constructed after the demolition of the extant outbuildings. Surveys and preparatory works revealed valuable archaeological relics in the yard, at 4m depth. Specialists of the local museum worked for several weeks to save these, which of course temporarily halted the construction works.
A felújítás alapvetôen a szerkezetek megerôsítésével, konszolidálásával, valamint a földrengésveszély elleni védelmet szolgáló, a meglévô szerkezethez nehezen illeszthetô vasbeton konstrukció megépítésével kezdôdött. Komoly gondot jelentett a szerkezet állagának megôrzése szempontjából a harmadik évezred igényeit kielégítô fûtô-hûtô, elektromos és \áramú rendszerek beépítése. Ez a probléma minden mûemléki épület felújításánál jelentkezik. Tapasztalataim alapján ez az a kérdéskör, amelyet ma még a legtöbb esetben úgy kezelnek, hogy az új technológiához akarják átalakítani a meglévô, kiemelkedô építészeti értékeket hordozó szerkezeteket, és nem fordítva. Az udvarban részben meglévô épületek átalakításával, illetve új épület felhúzásával egy konferenciatermet alakítottunk ki. Itt komoly alapozási problémákat kellett megoldani. Az M2 jelzésû épület kb. 1300 m 2 szintterületû (pince, földszint, emelet, tetôtér), statikai állapotát tekintve a három ház közül a legjobb állagú, szabályos vegyes falazatú épület. A pince feletti födém részben téglaboltozat, részben egy korábbi beomlás után épített vasbeton födém. A földszint feletti födém téglaboltozat, míg az emelet feletti födém tölgyfagerenda. A fedélszék is tölgyfából készült, részben jó állapotú, részben cserére szorult.
A pincét és tetôteret nem hasznosítottuk, de az udvaron a meglévô melléképületek bontása után egy új szárny épült. A feltárások és az elôkészítô munkák során az épület udvarán kb. 4 m-es mélységben értékes régészeti leletekre bukkantunk. A helyi múzeum szakemberei több héten át foglalkoztak a leletek megmentésével, ami természetesen az építési munkák idôleges leállítását eredményezte.
Tusnad 2005
Baia Mare
The M3 building (the Lendvay house) is a badly decayed building abandoned and neglected for decays, with an about 1300m2 floor area (underground level, ground level, first floor and attic). More than a third of the house had to be demolished, but even the remaining part could only be stabilized and saved with great caution and careful, step by step planning. During the construction works the idea of completely demolishing the structure recurred several times, but finally we managed to maintain the valuable and beautiful vaultings. The house being infected in several spots by merulius lacrimans represented a serious problem. Ensuring the stability of the building and protecting it against earthquakes, as well as the new cadastral regulations (requiring us to transform the main wall common with the neighbouring building into a self-standing one) made it necessary to construct a solid reinforced concrete frame. The M4 ensemble is in fact the historic centre of the town. It was expected that the square should regain its original function, becoming the centre of urban life. Our task was to renew the pavement of the square and construct the precipitation-conduits. The other public utilities were replaced or renewed by other contractors working in parallel with us. Since the present urban structure does not make it possible to close down the centre for traffic, we also had to construct a 2400 m2 road crossing the square. The ornamental pavements, parking lots and sidewalks have an approximately 13000 m2 area. These works cannot be considered built heritage conservation, but without them the three houses could not have been properly renovated. I think that the term revitalization best describes these activities.
PROBLEMS, CONCLUSIONS, REFLECTIONS: Time and deadlines: The building was once constructed more or less without strict deadlines, with enough time necessary for the technological processes, using experienced workers and proper materials or ones at hand. Now it had to be rehabilitated using 21st century technology, workers partially or completely unfamiliar with traditional crafts, according to the economic and financial requirements and contractual conditions of the 21st century, and respecting a strict deadline. I think the contradiction needs no explanation. As an example I could mention that the cracks that appeared after the structure was finalized were caused by the fact that we
Tusnad 2005
Baia Mare
Az M3 jelzésû épület – a Lendvay ház – állagában erôsen leromlott, évtizedek óta elhagyatott és elhanyagolt, mintegy 1000 m2 szintterületû (pince, földszint, emelet, tetôtér) épület. A ház több, mint egyharmadát le kellett bontani, de a megmaradt épületrészt is csak nagy körültekintéssel, lépésrôl lépésre gondosan megtervezve lehetett stabilizálni, megmenteni. Az építés során többször felmerült, hogy bontsuk le a teljes szerkezetet, de végül sikerült az értékes és szép boltozatokat eredeti formájukban megtartani. Gondot okozott, hogy a ház egyes részei könnyezô házigombával voltak megfertôzve. Az épület stabilitása és a földrengésveszély, valamint a megváltozott telekkönyvi elôírások miatt (a szomszéddal közös fôfalat önállóvá kellett tenni), komoly vasbeton vázszerkezet építése vált szükségessé. Az M4 jelzésû létesítmény maga a város történelmi fôtere. Az elvárás az volt, hogy a tér visszanyerje eredeti funkcióját, a városi élet központja legyen. Feladatunk a tér burkolati felújítása és a csapadékvíz-hálózat kiépítése volt. A többi közmû cseréjét, felújítását munkánkkal párhuzamosan más vállalkozók végezték. Mivel a város jelenlegi szerkezete nem teszi lehetôvé, hogy a közúti forgalmat a fôtérrôl kizárják, ezért a téren átvezetô mintegy 2400 m2 utat is kellett építeni. A díszburkolat, parkolók, járdák területe kb. 13000 m2. Ezek a munkák nem nevezhetôk mûemléki felújításnak, de nélkülük a három ház felújítása nem hozott volna megfelelô eredményt. Erre a tevékenységre én a revitalizáció fogalmát érzem megfelelônek. PROBLÉMÁK, TANULSÁGOK, GONDOLATOK Idô – határidô Egy épületet, amelyet valaha többnyire határidô nélkül, a technológiai folyamatokhoz szükséges idô alatt, tapasztalt és gyakorlott munkaerôvel, alkalmas, vagy éppen rendelkezésre álló anyagokból építettek, azt most a XXI. század technológiájával, a régi mesterségeket csak részben ismerô, vagy nem ismerô munkaerôvel, a XXI. század gazdasági és pénzügyi elvárásainak megfelelô szerzôdéses feltételek mellett, kötött határidôre kellett felújítani. Az ellentmondást magyarázni nem szükséges. Példaként említeném, hogy a kész szerkezeten utólag megjelenô repedések annak tudhatók be, hogy a szerkezetre rakott többletterhek okozta mozgások kialakulása elôtt vakoltunk és festettünk. Nem mindig volt idô arra sem, hogy megkeressük a legjobb megoldást, nem adatott meg az a lehetôség nekünk, mint Kômûves Kelemennek és 11 társának magas Déva váránál,
rendered and painted the building before the motions caused by the extra loads of the building appeared. We did not always have the time to find the best solution, we did not have the time Kelemen Komuves and his 11 companions had when constructing the castle of Deva to discuss and consider the problems. We were pressed by time and had to take decisions on the spot. Quality and quality certificates The 21st century quality certification system with its strict and abundant administration, the new materials and technologies met with a centuries-old construction without such certificates. The question arises, what is more valuable: the certificate of compliance issued by the lumber-yard, or the expertise of the craftsman who went to the woods, marked the trees to be cut down, had them prepared, and then used the right timber at the right place, where he intended it to go the moment he saw the tree in the wood. Fire safety regulations The just and indisputable needs meeting with historic structures posit not only structural problems difficult to solve and execute, but also architectural and aesthetic ones. This is the case of the fire safety and antitheft installations on the front elevation. Building physics By building in new structures (like air-insulated doors and windows, reinforced concrete girders) we tampered with a building physical system that more or less functioned well for centuries. This problem requires greater care than new houses, where it is dealt with almost routinely. Waterproofing The moistening and high salt content of walls posits many problems for built heritage conservation. They represent a technical task requiring serious expertise, great care and lots of money. The situation is even more difficult when, as in our case, the problem is not dealt with at the neighbouring buildings. Mechanical and electricity engineering works for buildings Is there a mechanical or electrical engineer in this world who would understand the soul of historic buildings? RESULTS A well-conceived development plan and financial construction based on a good idea helped a town with a great history define its redefine its old image for several decades. The revitalization of the three historic buildings and of the square gave back to the town what the forced industrialization and then its quick collapse took away. The town became again the centre of the region not only from the administrative point of view, but also in its atmosphere.
hogy tanakodjunk, gondolkodjunk a problémán, mert szorított az idô, és azonnal dönteni kellett. Minôség – minôségtanúsítás A 21. század minôségtanúsítási rendszere a maga szigorú és bôséges adminisztrációjával, új anyagok és technológiák és egy minôsítetlen több évszázados építmény. Itt felmerül egy olyan kérdés, vajon mi ér többet: a fatelep által kiállított megfelelôségi bizonyítvány, vagy az építômester szaktudása, aki felment az erdôbe, kijelölte a kivágandó fákat, feldolgoztatta, majd a megfelelô faanyagot a megfelelô helyre beépítette úgy, hogy már akkor megvolt az elképzelése errôl, amikor a fát az erdôben meglátta. Tûzvédelem – hatósági elôírások Jogos és vitathatatlan igények a történelmi szerkezettel szemben, amelyek nemcsak nehezen megoldható és kivitelezhetô szerkezeti problémákat jelentettek, de építészeti és esztétikai gondot is okoztak. Például a tûz- és vagyonvédelmi jelzôberendezések elhelyezése a homlokzaton. Épületfizika Új szerkezetek beépítésével (például légtömör záródású ablakok és ajtók, vasbeton gerendák) egy évszázadokig többékevésbé jól mûködô épületfizikai rendszert bontottunk meg. Ennek megoldása nagyobb körültekintést igényel, mint egy új háznál, ahol ezt a kérdést szinte már rutinszerûen kezeljük. Vízszigetelés A falak nedvesedése és magas sótartalma sok gondot okoz a mûemléki épületek felújításánál. Komoly szakértôi munkát, fokozott gondosságot és sok-sok pénzt igénylô mûszaki feladat. Különösen nehéz a helyzet, mint a mi esetünkben is, amikor a szomszédos épületeknél e kérdéssel nem foglalkoznak. Épületgépészet – épületvillamosság Vajon van-e a világon olyan gépész és elektromos tervezô, aki érti a történelmi épületek lelkét? EREDMÉNY Egy jó ötlet és az arra alapuló átgondolt fejlesztési terv, pénzügyi konstrukció segítségével egy nagy múltú város több évtizedre meghatározta régi-új arculatát. A három mûemléki épület és a tér felújítása visszaadta a városnak azt az értéket, amit az erôltetett iparosítás, majd annak gyors leépülése elvett tôle. A város nemcsak közigazgatásilag, hanem hangulatában is újra egy térség méltó központja lett.
Öröm volt számomra részt venni ebben a munkában.
I took great pleasure in participating in the process.
Tusnad 2005
Baia Mare
Tudor POPOVICI
Historic Building Conservation at Baia Mare Consideration on Ventilation and Air-conditioning Reabilitarea unor clãdiri istorice din Baia Mare - Consideraøii asupra ventilãrii ši climatizãrii ABSTRACT The lecture presents some general aspects of the problem area, then the solutions adopted for the ventilation and airconditioning of rooms. The versions used promote modern equipments that integrate an optimal efficiency in technical, economic and ecologic terms.
REZUMAT Sunt prezentate câteva aspecte generale asupra problematicii domeniului urmate de soluøiile adoptate pentru ventilarea ši climatizarea încãperilor. Variantele adoptate promoveazã echipamente moderne care înglobeazã o eficienøã optimã privind argumentele tehnice, economice ši ecologice.
1. GENERAL CONSIDERATIONS Historic buildings present specific challenges to specialists in several domains: architecture, constructions and installations, which can be summed up as follows: – respecting the building's personality in order to render as faithfully as possible its original aspect; – interventions into the construction that would combine harmoniously old and new materials and technologies; – synchronizing the new functions of rooms with the characteristics of fittings and equipments providing the internal comfort – technical fittings should be of the smallest sizes possible, aesthetic, functioning silently, with low consumption, highly reliable, permitting automatic functioning, non-polluting and presenting investment and exploitation costs as low as possible.
1. CONSIDERAØII GENERALE Construcøiile monument istoric ridicã anumite pretenøii în faøa specialištilor din domeniile: arhitecturã, construcøii ši instalaøii, care pot fi sintetizate în urmãtoarele: – respectarea personalitãøii construcøiei, pentru a-i reda cât mai fidel aspectul iniøial; – intervenøiile asupra construcøiei sã îmbine armonios materialele ši tehnologiile vechi cu cele de actualitate; – funcøiunile noi ale încãperilor sã se "racordeze" la specificul instalaøiilor ši echipamentelor care conduc la obøinerea confortului interior; – dotãrile tehnice sã aibã dimensiuni cât mai reduse, sã fie estetice, sã aibã o funcøionare silenøioasã, sã înglobeze consumuri minime de energie, sã aibã o fiabilitate ridicatã, sã permitã o funcøionare automatã, sã nu fie poluante ši sã reprezinte costuri de investiøie ši exploatare cât mai reduse.
2. THE SOLUTIONS ADOPTED
2. PREZENTAREA SOLUØIILOR ADOPTATE
Based on the above considerations and the characteristics of the three ensembles, M1, M2 and M3, the following solutions were adopted:
Pe baza celor prezentate mai sus ši a specificitãøii celor 3 grupuri de clãdiri M1, M2 ši M3 s-au adoptat urmãtoarele soluøii.
a) Building A – M1 ensemble – The basement is ventilated by a window ventilation plant; excess moisture is captured with the help of a floor de–humidifier. – The upper and mansard levels are air-conditioned by ventilation convectors mounted under the windows; the fresh air supply is provided by natural ventilation; – Fresh air for the mansard is provided by two ventilation plants situated in the attic (fig.1.)
a) Corpul A – complexul M1 – subsolul este ventilat cu ajutorul unor centrale de ventilare de fereastrã, iar excesul de umiditate este captat cu ajutorul unor dezumidificatoare de pardosealã; – nivelele curente ši mansarda sunt climatizate cu ajutorul unor ventilo-convectoare amplsate sub ferestre, iar aportul de aer proaspãt este realizat prin ventilare naturalã; – mansarda beneficiazã de aer proaspãt preparat de douã centrale de ventilare amplasate în podul clãdirii (fig.1).
b) building C – M1 ensemble – The conference room is ventilated and air-conditioned by a system made up of 4 CONDUIT SPLIT type devices, which direct the air by height grids (fig.2.) – The chiller is mounted in a specially arranged space (fig.3.)
b) Corpul C – complexul M1 – sala de conferinøe este ventilatã ši climatizatã cu un sistem alcãtuit din 4 aparate tip SPLIT DE CONDUCTA, care dirijeazã aerul prin grile de înãløime (fig.2). – sursa rece, chillerul, este montat într-un spaøiu special amenajat (fig.3).
c) the M2 building – The basement has a floor de-humidifier, which retains the excessive moisture; – The upper level rooms are air-conditioned with WALL SPLIT type installations, the exterior elements of which are mounted over the roofing.
Tusnad 2005
Baia Mare
c) Clãdirea M2 – subsolul este prevãzut cu dezumidificatoare de pardosealã, care reøin excesul de umiditate din aer; – încãperile de la nivelele superioare sunt climatizate cu aparate tip SPLIT DE PERETE, având unitãøile exterioare amplasate deasupra învelitoarei.
Fig. 1 - Ventilation and air-conditioning of building A - M1 ensemble
Figura nr. 1 - Ventilarea ši climatizarea corpului A complexul M1
d) the M3 building – This basement also has a floor de-humidifier, which retains the excessive moisture from the air; – The upper level rooms are air-conditioned by FLOOR SPLIT type installations, the exterior elements of which are mounted on technical terraces, and "fresh air" is provided by two ventilation plants mounted in the attic and is distributed by risers provide with delivery grids. In all toilets, the vitiated air is evacuated by mechanic ventilation.
d) Clãdirea M3 – subsolul este, de asemenea, dotat cu dezumidificatoare de pardosealã, care reøin umiditatea în exces din aer; – încãperile de la nivelele superioare sunt climatizate cu aparate tip SPLIT DE PARDOSEALA, cu unitãøile exterioare montate pe o terasã tehnicã iar „aerul proaspãt” este pregãtit de 2 centrale de ventilare ašezate în pod ši distribuit prin coloane verticale prevãzute cu grile de refulare. Pentru toate grupurile sanitare, evacuarea aerului viciat se realizeazã prin ventilare mecanicã.
3. CONCLUSIONS 3.1. The solutions adopted were chosen with regard to the aesthetics of rooms. 3.2. The final technological versions were chosen as a result of a fruitful cooperation between several specialties that worked as a team. 3.3. The established qualitative requirements and deadlines were respected. 3.\4. The good functioning of the installations and equipments during their exploitation requires that they be closely supervised and maintained by specialists.
3. CONCLUZII 3.1. Soluøiile adoptate au avut în vedere estetica încãperilor . 3.2. Stabilirea variantelor tehnologice finale a fost adoptatã pe baza consultãrilor fructuoase între specialitãøi, care au acøionat în echipã; 3.3. Au fost respectate cerinøele de calitate ši termenele stabilite; 3.4. Pentru o bunã funcøionare a aparaturii ši echipamentelor în timpul exploatãrii se impune o atentã supraveghere ši întreøinere specializatã a acestora.
Tusnad 2005
Baia Mare
Fig.2 - Ventilation and air-conditioning of building C - M1 ensemble
BIBLIOGRAFIE
BIBLIOGRAPHY [1] Duta, Gh., s.a. – Manualul de Instalatii – Instalatii de ventilare si climatizare. (Manual of Installations. Ventillation and air/conditioning installations.) Ed. Artecno, Bucuresti, 2002. [2] Kajl, S. – Climatisation et refrigeration industrielle – Ecole de technologie supérieure – Université de Québec – 1999 [3] *** Normativ privind proiectarea si executarea instalatiilor de ventilare si climatizare (Norms regarding the planning and execution of ventilation and air-conditioning installations.)- I.5.-98 [4] *** Technical catalogues: LINDAB, MADEL, ACP, LENNOX, YORK, DAIKIN, TRANE etc.
Fig.3 - Mounting the chiller in the specially arranged technical area
Tusnad 2005
Figura nr. 2 - Ventilarea ši climatizarea corpului C complexul M1
Baia Mare
[1] Duøã, Gh., š.a. – Manualul de Instalaøii – Instalaøii de ventilare ši climatizare. Ed. Artecno, Bucurešti, 2002 [2] Kajl, S. – Climatisation et refrigeration industrielle – Ecole de technologie supérieure – Université de Québec – 1999 [3] *** Normativ privind proiectarea ši executarea instalaøiilor de ventilare ši climatizare – I.5.–98 [4] *** Cataloage tehnice: LINDAB, MADEL, ACP, LENNOX, YORK, DAIKIN, TRANE š.a.
Figura nr.3 - Amplasarea chillerului în spaøiul tehnic amenajat special
Magdalena AMBRUS
Historic Building Conservation at Baia Mare – Observation on the Heating and Sanitary Installations Reabilitarea unor clãdiri istorice din Baia Mare – Consideraøii asupra instalaøiilor de încãlzire ši sanitare GENERAL OBSERVATIONS
CONSIDERAØII GENERALE
The solutions chosen for the heating and the water and canalization systems of the M1, M2 and M3 buildings meet all the requirements regarding quality in construction with the promotion of new and reliable equipment, as well as of modern, stable and durable technologies. Since these buildings fall into the category of historic monuments, many problems arose, during the restorationconservation works, in choosing those technical solutions for the installations, that would correspond to certain particularities: – the restoration of historic monuments includes interventions in the installations, which have to present a pleasant and modern aesthetic aspect of the building; – the new installation systems have to be integrated into the traditional elements of the old architecture so as to comply with the modern requirements of comfort; – the physical integrity of the built and natural environment of the historic monument has to be respected through the sobriety of the equipment harmoniously combined with the personality of the construction; – the installations have to be long-lasting, reliable and suitable for different situations while being in use, without leading to the alteration of the perfected construction.
Soluøiile adoptate pentru încãlzire ši instalaøiile de apã ši canalizare ale imobilelor M1, M2, M3 rãspund cerinøelor de calitate în construcøii prin promovarea de echipamente noi ši fiabile, de tehnologii de execuøie moderne, stabile ši durabile. Întrucât aceste imobile fac parte din categoria clãdirilor istorice, prin acøiunea de restaurare - conservare a ridicat multe probleme în alegerea soluøiilor tehnice de realizare a instalaøiilor astfel încât sã rãspundã unor serii de particularitãøi: – restaurarea clãdirilor istorice conduce implicit ši la intervenøii asupra instalaøiilor care trebuie sã confere un aspect estetic plãcut ši modern al construcøiei; – integrarea noilor sisteme de instalaøii în elementele tradiøionale ale vechii arhitecturii astfel încât sã satisfacã cerinøele moderne de confort; – respectarea integritãøii fizice a cadrului construit ši natural al clãdirii istorice prin sobrietatea echipamentelor îmbinate armonios cu personalitatea construcøiei; – asigurarea performanøelor instalaøiilor pe toatã durata de viaøã a acestora, astfel încât sã aibã o fiabilitate ridicatã ši sã satisfacã diferitele situaøii ce pot apãrea în exploatare, fãrã a conduce la alterarea finisajului construcøiei.
SELECTED SOLUTIONS
SOLUØIILE ADOPTATE
These solutions have been adopted according to the special character of the constructions built of elements with high thermal inertia, very thick walls and floors, as well as vaults of different height.
Acestea au fost stabilite funcøie de caracterul special al construcøiilor care sunt executate din elemente de construcøie cu inerøie termicã foarte mare, cu pereøi ši planšee foarte groase ši boløi cu înãløimi diferite la formare (naštere).
I.
I.
Thermal installations M1 building – wings A, B, C Two heating systems have been determined: – in a classical system, with hot-water radiators for the rooms in the basement, sanitary installations, corridors, annexes; – hot-water heating in colder periods of the year and aircooling in warm weather with ventilated convectors for the floors using hot or chilled water prepared in a chiller as thermal agents. – The temperature of the air is regulated through its panel with the turning off and on of the thermal/ cooling agent. M2 building The heating has been realized with hot-water radiators in a bitubular system with forced circulation. M3 building The heating of the interior has been realized with hot-water static devices, the water being prepared in its own central heating system. The fresh air is heated in the ventilation system by means of heating batteries; hot water being the thermal agent.
Instalaøii termice Imobilul M1 – corp A, B, C S-au prevãzut douã sisteme de încãlzire: – în sistem clasic, cu radiatoare cu agent termic apã caldã pentru încãperile de la subsol, grupuri sanitare, coridoare, anexe; – încãlzirea cu aer cald pe perioada rece a anului ši rãcirea aerului pe perioada caldã, cu ventiloconvectoare de pardosealã folosind agent termic apa caldã, respectiv apa rãcitã preparatã într-un chiller. – Reglarea temperaturii interioare a aerului se realizeazã de la panoul acestuia prin închiderea ši deschiderea agentului termic/rãcire. Imobilul M2 Încãlzirea s-a realizat cu corpuri de încãlzire - radiatoare cu agent termic apa caldã, în sistem bitubular cu circulaøie forøatã. Imobilul M3 Încãlzirea funcøiunilor s-a realizat cu corpuri statice cu agent termic apa caldã preparatã în centrala termicã proprie. Aerul proaspãt introdus este încãlzit în centralele de ventilare prin intermediul bateriilor de încãlzire ce utilizeazã agent termic apa caldã.
Tusnad 2005
Baia Mare
For all the buildings, the thermal agent is distributed horizontally for every level through distributors-collectors and then through a network of ducts consisting of RAUPINK-REHAU reticulate polythene tubes, which besides a series of advantages present memory effect and their aging process influenced by the heat is slow. The ducts are placed in the floor or in the wall. The hot water is prepared in the central heating system of each building equipped with BUDERUS cast iron boilers, type: LOGANO. The automatization device of the central heating systems brings about in each circuit a rough regulation with turning the pumps off/ on and a qualitative regulation through a mixture with a three-way valve, motorized according to the external and internal temperature.
Pentru toate imobilele agentul termic este distribuit pe orizontalã la fiecare nivel prin distribuitoare -colectoare ši apoi printr-o reøea de conducte din tuburi de polietilenã reticulatã RAUPINK-REHAU care pe lângã alte multe avantaje prezintã efect de memorie ši al cãrui proces de îmbãtrânire la cald este foarte lent. Conductele sunt pozate îngropat în pardosealã sau perete. Agentul termic apa caldã este preparat în centrale termice proprii aferente fiecãrui imobil echipate cu cazane din fontã BUDERUS tip LOGANO. Instalaøia de automatizare a centralelor termice realizeazã pe fiecare circuit reglaj brut prin oprirea/pornirea pompelor ši reglaje calitative prin amestec cu vanã cu 3 cãi, motorizatã funcøie de temperatura exterioarã ši interioarã.
II. Sanitary installations The sanitary equipment corresponds to the comfort level, creating a pleasant architectural environment. The sanitary objects comply with the most exigent aesthetic (form, size, color) requirements and sanitary comfort. These objects are installed on consoles, on metal structures (GEBERIT system) hiding thus the connecting ducts between the objects and networks. The water suply consists of RAUHIS-REHAU reticulate polythene tubes with improved features, while sound transmission through the duct is almost inexistent, it doesn't incline to the formation of sediment, it presents memory effect etc.
II. Instalaøii sanitare Echiparea ši dotarea grupurilor sanitare rãspunde nivelului de confort astfel încât sã creeze un mediu arhitectural plãcut. Obiectele sanitare montate, satisfac cele mai exigente cerinøe estetice (formã, dimensiune, culoare) ši confort igienico-sanitar. Acestea sunt montate pe console, pe structuri metalice (sistem GEBERIT) mascând astfel conductele de legãturã dintre obiecte ši reøele. Instalaøia de apã este executatã din tuburi de polietilenã reticulatã RAUHIS-REHAU cu proprietãøi îmbunãtãøite, respectiv transmisia sonorã prin conductã este aproape inexistentã, nu înclinã spre formare de depuneri, prezintã efect de memorie, š.a.
BIBLIOGRAPHY
BIBLIOGRAFIE
1. Mihai ILINA, Dragos HERA - Installation Manual - Heating Installations, Ed. Artecno Bucuresti 2002 2. Norm for the design and carrying out of the heating installations I 13-2002 3. Technical catalogues - Technical presriptions
1.Mihai ILINA, Dragoš HERA s.a.- Manualul de Instalaøii -Instalaøii de încãlzire . Ed. Artecno Bucurešti 2002. 2.Nornativ pentru proiectarea ši executarea instalaøiilor de încãlzire .I 13-2002 3. Cataloage tehnice-Prescripøii tehnice
Tusnad 2005
Baia Mare
Erzsébet SZABÓ — Csaba ZÁGONI
Features of design the electrical installations at the rehabilitation of the Millennium III Business Centre, Baia Mare Aspecte ale proiectãrii instalaøiilor electrice Centrul de Afaceri Millennium III Baia Mare Participation at the execution of electrical installations started with the presentation of proposals regarding fitting the spaces with electrical equipments, according to their destinations, respecting the functioning and comfort requirements. In this first phase of approach, the investor's role in establishing the planned parameters of comfort, fitting and functioning, in transmitting them to the specialists, but especially its strong will to succeed proved decisive. The proposal was put together with supersonic planning speed in the hope of obtaining the unexpected financing. It contributed to obtaining the PHARE funds in Bruxelles and proved successful. The victory was of course worth the enormous concentration for mastering the technical solutions, a concentration that in fact ended only with the final reception of the works.
Participarea la lucrare, pentru specialitatea de instalaøii electrice a început cu prezentarea propunerilor de dotare a spaøiilor cu instalaøii electrice, în concordanøã cu destinaøiile acestora, respectând criteriile de funcøionare ši de confort. În aceastã primã fazã de abordare rolul investitorului de a stabili ši a transmite specialitãøilor parametrii preconizaøi de confort, dotare, funcøiuni, dar mai ales dorinøa fermã de reušitã, a fost decisiv. Propunerea întocmitã cu vitezã supersonicã de proiectare – din dorinøa de a obøine finanøarea nesperatã – a servit la susøinerea obøinerii fondurilor PHARE la Bruxelles, ši a avut succes. Sigur, victoria a meritat enorma concentrare pentru stãpânirea tehnicã a soluøiilor, care de fapt nu s-a terminat decât la recepøia finalã a lucrãrilor.
The main criteria of planning were: – the general consideration that the electrical fittings must serve the construction with the minimal visible presence – providing power supply with well-planned reserves in order to ensure safe functioning and further development – separating the consumption meters for spaces to be let separately, and determining the common consumption, reducing the risks of the owner and facilitating the calculation of rent – automating the functioning of certain elements of the instalations – providing luminotehnical solutions that would offer, especially in spaces defined as representative, a special atmosphere, in harmony with the destination and architecture, but also luminosity comfort conforming to European norms – elaborating details concerning the installing height, the layout of elements, the risers, the column mountings, the soffits, this being considered the only way to avoid aesthetic discordances
Drept principale criterii de proiectare enumerãm: – în principal a fost urmat considerentul, cã instalaøia electricã trebuie sã serveascã construcøia cu o prezenøã vizibilã minimã – rezolvarea alimentãrilor cu energie electricã – cu rezerve bine gândite - pentru funcøionare sigurã ši dezvoltãri ulterioare – separarea mãsurãrii consumurilor pentru spaøiile închiriabile separat, ši determinarea consumului comun, calculul chiriilor ši riscul proprietarului fiind diminuate – introducerea automatizãrilor în funcøionarea unor pãrøi de instalaøie – soluøii luminotehnice care sã ofere, în special în spaøiile definite a fi reprezentative, un ambient particular, în concordanøã cu destinaøia ši cu arhitectura, dar peste tot un confort luminos conform cu normele europene. – elaborarea unor detalii privind înãløimi de montaj, mod de amplasare a elementelor, urcãri de coloane, scafe, pe considerentul cã doar astfel se pot evita discordanøele estetice
Tusnad 2005
Baia Mare
– last, but not least: since research and planning went in parallel, solutions were modified in and in between the planning phases. Therefore a methodology of correlating the different specialities was worked out and sustained, meant to eliminate the confusions between the several intermediary thematic phases of installation, both as concerns mounting the elements and
– ši nu în ultimul rând: pentru cã cercetarea ši proiectarea au avut traseu paralel, soluøiile au fost modificate în ši între fazele de proiectare. De aceea a fost elaboratã ši susøinutã o metodologie de corelare între specialitãøi, care sã elimine confuziile între etapele (multe) intermediare de tematicã de instalare atât la amplasarea elementelor cât ši la stabilirea traseelor de instalaøie.
establishing the installation routes. The planning phases that followed were the familiar ones. In our case however, the time available was short. The phases could only be respected by specialists well-versed in planning electrical fittings for historic buildings.
Fazele de proiectare care au urmat sunt cele cunoscute. În cazul nostru însã timpul acordat acestora a fost scurt. Se putea respecta doar de speciališti versaøi în proiectarea instalaøiilor electrice pentru monumente istorice.
THE TYPES OF ELECTRICAL FITTINGS PLANNED FOR THE THREE SITES ARE:
TIPURILE DE INSTALAØII ELECTRICE PREVÃZUTE ÎN CELE TREI OBIECTIVE SUNT:
1. lighting: General illumination according to the destination and architectural characteristics of the rooms: vaulted spaces have
1. de iluminat: iluminatul general, în concordanøã cu destinaøia ši cu caracteristicile arhitecturii încãperilor: în încãperile boltite s-a
Tusnad 2005
Baia Mare
semi indirect illumination, the vaults being also illuminated emergency lighting: For evacuation, in exhibition halls and corridors The illumination of fire hydrants Artistic lighting of architectural elements and representative spaces External lighting
realizat iluminat semiindirect iluminându-se ši boløii. iluminatul de siguranøã : pentru evacuare, în sãlile de expoziøii ši coridoare pentru iluminat hidranøi de incendiu iluminat artistic al elementelor de arhitecturã ši ale spaøiilor reprezentative iluminatul exterior
2. outlets – with circuits for computers – with circuits for other uses 3. power 4. automation for power 5. installation of thunderrod earthing 6. installation of energy distribution and null-of safeguard
2. de prize – cu circuite consacrate pentru calculatoare – cu circuite pentru alte utilizãri 3. de forøã 4. de automatizare a instalaøiilor de forøã 5. de paratrãsnet ši prizã de pãmânt 6. de distribuøie a energiei ši al nulului de protecøie
All the above fittings have beet mounted and are operational. A success of the project was the positioning of service lead bays in places where they do not impact on visual comfort, without breaching the specific technical norms. The technical assistance to the execution can be characterized as efficient. The cooperation with the recipient, with the overseeing company and the contractor was constructive, which allowed us to concentrate on the technical and technological problems. We consider however that some confusions could be eliminated in the phase of preparing the tender, by organizing a conference where the planners could present the project to the interested companies, and by giving the technical proposal the attention it deserves in the tender documentation, checking thoroughly with the help of specialists whether the contracting companies have acquired the essentials of the technique and technology required by the works.
Toate instalaøiile enumerate au fost executate ši sunt în stare de funcøionare. Este o reušitã al proiectului electric amplasarea firidelor de branšament în locuri unde ele nu afecteazã confortul vizual fãrã a încãlca normele tehnice specifice. Asistenøa tehnicã de execuøie se poate caracteriza în general drept eficientã. Colaborarea cu beneficiarul, cu firma de dirigenøie ši cu executantul a decurs în termeni constructivi, creându-se astfel condiøii de a se concentra pe problemele tehnice ši tehnologice. Considerãm însã cã se pot elimina în faza de pregãtire a licitaøiei anumite confuzii prin organizarea, pentru firmele interesate, a unei conferinøe de prezentare a proiectului de cãtre proiectanøi, ši dacã în documentaøia de licitaøie propunerea tehnicã ar avea importanøa cuvenitã verificându-se atent, cu concursul specialištilor dacã firmele de execuøie ši-au însušit pãrøile esenøiale ale tehnicii ši tehnologiei cerute în lucrare.
We would like to mention that the electrical fitting contractor of HARCON company had a remarkable technical contribution at the M1 building and some spaces in M2 and M3, by the method of installing the electric circuits without sockets, and using fast clamps for the conductors. Now that the investment is operating, we may state that the three objectives have been achieved, and the electrical fittings in function are characterized by:
Menøionãm cã executantul de instalaøii electrice al firmei HARCON a avut un aport tehnologic remarcabil la imobilul M1ši în unele spaøii in M2 ši M3 – prin metoda de instalare fãrã doze a circuitelor electrice ši prin utilizarea de cleme rapide în înãdirearea conductoarelor . Acum, când investiøia este în funcøiune, se poate afirma cã în cele trei obiective s-a realizat ši este în funcøiune instalaøia electricã caracterizabilã prin:
Tusnad 2005
Baia Mare
– energetic efficiency: illumination is mainly provided by light sources over 50lm/W, and there are illumination sequences where natural light is also relied on; thus the conditions for energy-saving are created – diversified illumination fittings for spaces with specific uses or architecture – the comfort of the user: – the illumination can be operated from all access points, ventilation is turned on together with the light in toilets without natural ventilation – outlet circuits satisfy the consumption demand – outlets for computers have separate circuits
– eficienøã energeticã: iluminatul fiind realizat în principal cu surse de luminã de peste 50lm/W, sunt secvenøe de iluminat care øin cont de iluminatul natural, ši creeazã condiøii pentru economisirea consumului energetic – instalaøie de iluminat diversificatã pentru spaøii cu destinaøii sau arhitecturã specificã – confortul utilizatorului: iluminatul poate fi pus în funcøiune din toate punctele de acces, ventilaøia pornešte cu iluminatul în grupurile sanitare fãrã ventilaøie naturalã – circuitele de prize satisfac nevoile de consum – prizele pentru calculatoare pe circuite separate
– the level and quality of light provide the planned visual comfort – metering that corresponds to the interests of the investor – comfortable reserves for further development, the installation being maintainable for at least 15 years – durable solutions: the prescribed installation materials meet the requirements of European norms.
– nivelul de iluminat ši calitatea luminii creeazã confortul vizual preconizat – contorizare corespunzãtoare interesului investitorului – rezerve confortabile pentru dezvoltãri ulterioare, instalaøia fiind mentenabilã pe o perioadã minimã de 15 ani – soluøii durabile: materialele de instalare prescrise sunt conforme cu normele europene
Finally we must state that we were honoured by the works being entrusted to us, and we are happy that we could answer the challenges with efficient professionalism. Due to these works, we of course became a little bit locals.
În final nu putem evita sã menøionãm cã prin încredinøarea lucrãrii ne-am simøit onoraøi, ši ne bucurãm cã am fost în mãsurã sã rãspundem cu eficienøã profesionalã provocãrilor. Sigur, datoritã acestei lucrãri, am devenit puøin bãimãreni.
Tusnad 2005
Baia Mare
SZABÓ Bálint – KIRIZSÁN Imola
Structural Approach – Millennium III Business Centre, Baia Mare Consolidarea structurii de rezistenøã în cadrul proiectului de reabilitare – Centrul de Afaceri Millennium III Baia Mare (1.) LOAD-BEARING SUBSTRUCTURES: STRUCTURAL WALLS, POSTS
(1.) UBANSAMBLURI DE SUSØINERE: PEREØI PORTANØI, STÂLPI
As parts of the load-bearing structure, load-bearing substructures have the mechanical function of transmitting actions from roof structures and floors (as substructures), and transmitting them to the foundation substructures. Load-bearing substructures are generally walls, columns and posts, but bearing functions can also be held by interdependent arches, or arches of vaulted floors supporting load-bearing walls (supporting in their turn floors and/or roof structures). Of the load-bearing substructures to be met in historic load-bearing structures, this lecture will focus on masonry structures of diverse materials and technologies. These materials include masonry elements and binders: stone, brick and lime-based mortar.
Subansamblurile de susøinere - în cadrul ansamblului structurii portante – au rolul mecanic de a prelua ši transmite cãtre (subansamblul de) fundaøii acøiunile provenite de la (subansamblurile de) šarpante ši planšee. Subansamblurile de susøinere majoritar presupun pereøi, coloane ši stâlpi, dar au rol de susøinere inclusiv arcele independente sau aparøinãtoare planšeelor boltitele, peste care reazemã pereøi portanøi(care la rândul lor susøin planšee ši/sau šarpante). Din categoria subansamblurilor de susøinere aparøinãtoare structurilor portante istorice stau în atenøia noastrã cele executate din zidãrie, folosind diferite materiale puse în operã prin diverse tehnologii. Materialele sunt deopotrivã elemente de zidãrie ši lianøi: piatra, cãrãmida ši mortarul de var.
The masonry can meet the mechanical demands if the quality of its materials and technologies is satisfactory both as concerns the elements of the load-bearing structure and the load-bearing substructure as a whole, made up of load-bearing elements: walls, and possibly columns and load-bearing posts. The major problems met are related to (i) the binding of masonry elements, (ii) the bonds of intersecting walls (respectively columns and posts), (iii) the quality of the original
Zidãria face faøã pretenøiilor mecanice ce îi revin, dacã calitatea materialelor ši a tehnologiilor este satisfãcãtoare atât la nivel de element de structurã portantã, cât ši pe subansamblu de susøinere (format din elemente portante: pereøi, eventual coloane ši stâlpi portanøi). Problemele majore se leagã de (i) øeserea elementelor de zidãrie, (ii) întreøeserea pereøilor (respectiv pereøilor ši coloanelor) la intersecøii, (iii) calitatea execuøiei iniøiale la arce-buiandrugi,
Tusnad 2005
Baia Mare
execution of lintel-arches and embrasures, and their treatment during subsequent modifications. Decay can be caused by multiple factors, the most frequent being: (i) exfoliation cased by repeated frost-defrost or by the presence of salts, resulting from moisture entrainment in masonries (from the soil, gutters, pipes etc.); (ii) alterations to openings without the parallel alteration of lintels or embrasures; (iii) unequal settlings caused by deficiencies in the foundations proper or in the supporting arches (vaults), or the mistaken vertical layout of openings; (iv) different objects built into the masonry mass without creating the proper opening for them; (v) displacements of adjacent masonries not bound to each other, due to vibrations caused by vehicle traffic or seismic action.
respectiv špaleøi, precum ši prelucrarea acestora cu ocazia modificãrilor de goluri în pereøi. Degradãrile se pun pe seama a multor categorii de cauze, mai frecvente fiind: (i) exfolieri date de îngheø-dezgheø repetat, sau de prezenøa unor sãruri în urma antrenãrii umiditãøii în zidãrii (din sol, de la jgheaburi ši burlane etc.), (ii) transformãri de goluri, fãrã ca buiandrugii sau špaleøii sã fi fost refãcuøi, (iii) tasãri inegale provocate de deficienøe ale fundaøiilor – propriu-zise sau ale arcelor (boløilor) de susøinere, respectiv de modul defectuos de suprapunere pe verticalã a golurilor, (iv) înglobãri în masa zidãriilor a diferitelor obiecte, pentru care golul nu s-a creat corespunzãtor, (v) deplasãri ale zidãriilor adiacente realizate fãrã øesere, în urma vibraøilor provocate de circulaøia vehiculelor, ori de activitate seismicã.
We are often confronted with the diminishing of the loadbearing capacity of a load-bearing structure caused by factors related to the building physics or biology. Interventions aim at binding the unbound walls to each other, at replacing sheared masonry elements and improving the quality of the binding mortar by injecting binder into it, at reinforcing embrasures by partial or full reconstruction or injection, at applying metal elements that improve the masonry's resistance to compression and/or shearing, at consolidating lintel arches by partial or total reconstruction and/or injection. In the process we of course use historic and modern materials, historic or contemporary reinforcement technologies, all compatible to a greater or smaller extent with the initial structure.
Ne confruntãm adeseori inclusiv cu reduceri de capacitate portantã ale structurii portante din cauze ce se leagã de fizica ori biologia construcøiilor. Intervenøiile privesc deopotrivã întreøeserea zidurilor nelegate între ele, înlocuirea elementelor de zidãrie forfecate ši îmbunãtãøirea calitãøii mortarului de legãturã prin injectare de liant, consolidarea špaleøilor prin refacere (parøialã sau totalã), injectare, respectiv prin aplicarea unor piese metalice care sã participe la îmbunãtãøirea rezistenøei zidãriei la compresiune ši/sau la forfecare, la consolidarea arcelor buiandrugi prin refacere (parøialã sau totalã) ši/sau injectare. Desigur se utilizeazã materiale istorice sau moderne, tehnologii de consolidare tradiøionale respectiv contemporane, toate având un grad de compatibilitate mai mare sau mai mic faøã de structura portantã iniøial executatã.
Tusnad 2005
Baia Mare
We are often faced with the problem of removing elements or substructures added later to the load-bearing structure, such as blocking or altering of openings, balconies, basement entrances, all of these having significant impacts. Degradations caused by the lack of supporting arches for load-bearing walls bearing directly on vaulted floors can be eliminated by introducing compressed, flexed or thrust loadbearing elements, on a case to case basis. We consider the flexed version to be the most reasonable one (pairs of metal or reinforced concrete girders situated at both sides of the wall to be reinforced), unless considerations of seismic protection advise against them, although the thrust or compressed versions (arches situated at inferior levels or load-bearing walls inserted on inferior level) are the traditional ones. Anti-seismic reinforcement presupposes a series of interventions involving reinforced concrete cores and girds, most of which are contested by the other disciplines involved in built heritage conservation.
Adeseori se pune problema eliminãrii inclusiv a unor elemente sau subansambluri ulterior adãugate structurii portante, cum ar fi înzidiri sau transformãri de goluri, balcoane, accese în subsol, cu amprente deloc neglijabile. Degradãrile provocate de lipsa arcului de susøinere a pereøilor portanøi rezemaøi direct pe planšee boltite se pot elimina prin introducerea unor elemente portante comprimate, încovoiate, sau cu împingeri, de la caz la caz. Credem, cã varianta încovoiatã este cea mai raøionalã (perechi de grinzi metalice sau din beton armat dispuse pe o parte ši pe alta a peretelui de consolidat), dacã motive legate de protecøia antiseismicã nu pretind altfel, deši variantele cu împingeri (arce dispuse la nivelul inferior), sau comprimate (perete portant intercalat de asemenea la nivelul inferior) sunt cele tradiøionale. Consolidarea antiseismicã presupune o serie de intervenøii – contestate aproape în totalitate de celelalte specialitãøi care conlucreazã la protecøia patrimoniului construit – care se legã de sâmburi ši centuri de beton armat.
The scale of these interventions reflect the skill and courage of the structural engineer, but the heritage losses thus caused also depend on those contesting the interventions. Another type of intervention, considered a brutal one by conservationists, consists in doubling the foundation and the supporting substructure, where neighbouring properties share these substructures. The question naturally arising is whether the properties should or should not be separated, and whether the neighbours should or should not mutually suffer the consequences of mistakes in the use and maintenance of the real estate in (partly) private property. And still: if our ancestors consented to this without doubling the load-bearing structures at the margins of their property, do we have the right to do away with a major heritage value, the practice of using common loadbearing substructures (regarding as valuable not only the material, but also the conception)? Moreover, who is responsible -legally, too – for an imprudent use that causes damages to the neighbour?
Anvergura acestor intervenøii este oglinda priceperii ši curajului inginerului de structurã portantã, dar pierderile produse de patrimoniului depind inclusiv de contestatari. O altã formã de intervenøie – consideratã brutalã de cei care protejeazã patrimoniul construit – constã din dublarea subansamblului de fundaøii ši de susøinere acolo, unde proprietãøile vecine au aceste subansambluri comune. Întrebarea este fireascã: este sau nu necesarã despãrøirea proprietãøilor, respectiv dacã vecinii trebuie sau nu sã suporte reciproc grešelile vis a vis de utilizarea ši întreøinerea imobilelor (parøial) proprietate personalã. ši totuši: dacã strãmošii au consimøit fãrã sã dubleze structurile portante la limita proprietãøii, avem noi dreptul sã eliminãm o valoare majorã de patrimoniu – uzanøa de a se folosi de subansambluri de structuri portante comune (admiøând drept valoare inclusiv concepøia, nu numai materialul istoric). Mai este ceva: cine rãspunde – chiar ši juridic – pentru neglijenøe în exploatare care produc pagube la vecini?
(2.) ALTERATIONS OF OPENINGS IN LOAD-BEARING WALLS
(2.) TRANSFORMãRI DE GOLURI ÎN PEREØI PORTANØI
Door and window openings are modified during the life of an historic building. The more secular a building, the more it belongs to private and poor owners, the more transformations will it undergo. The usual changes consist of interventions with a low degree of professionalism: not only openings are often infilled and not
Golurile de uši ši ferestre sunt modificate de-a lungul existenøei unei clãdiri istorice: cu cât o construcøie este mai laicã, mai de proprietate particularã ši mai sãracã, transformãrile sunt cu atât mai dese. Modificãrile, obišnuit presupun intervenøii de profesionalitate redusã: nu numai cã zidãriile sunt ne–øesute la umpleri de goluri,
Tusnad 2005
Baia Mare
toothed in to the original structure but very often the plaster is also not removed from the contact surfaces between walls. The lintel areas and openings created later are rarely arched, and the embrasures affected by joinery replacements are not repaired. Degradations are thus caused by the technologies used for alterations; traffic vibrations or seismic activities only complete the process. Specialists prefer radically different solutions: the art historian wants all openings preserved, the architect believes in the latest
dar de multe ori nici tencuiala nu este îndepãrtatã de pe suprafeøele de contact dintre zidãrii. Zonele de buiandrugi a golurilor create ulterior se arcuiesc rar, iar špaleøii afectaøi nu se corecteazã dupã înlocuiri de tâmplãrie. Tehnologiile de transformare sunt astfel cauzele degradãrilor, vibraøiile provenite din circulaøie sau activitãøi seismice doar desãvâršesc o stare de fapte. Specialištii doresc soluøii radical diferite: istoricul de artã vrea golurile toate pãstrate, arhitectul crede în estetica recent realizatã,
aesthetics not bearing the stamp of obsolete conceptions, and the structural engineer wishes to eliminate all signs of previous openings by binding the later completions. The solution most sensitive to the heritage value is probably the walling up of openings without binding, and with recessed faces on both sides (especially if the old opening was professionally created, and includes a lintel-arch.) Under normal conditions, the improvisations executed at some later transformation (joinery replacements, creation of door openings) would be undone, and the masonry alterations required to fix the joinery would be tied in, especially if, as it often happens, the lintels are missing, and the joinery has to transform into a discharging element for the opening.
fãrã urme vizibile ale concepøiilor depãšite, iar inginerul de structuri portante dorešte eliminarea tuturor urmelor de goluri anterioare, prin øeserea completãrilor ulterioare. Foarte probabil soluøiile sensibile faøã de valorile de patrimoniu sunt cele prin care înzidirile se fac fãrã øesere ši cu feøe retrase pe ambele laturi (mai ales dacã golul de altã datã a fost creat profesional inclusiv prin arce-buiandrug). În condiøii normale ar trebui desfãcute improvizaøiile executate cu ocazia unor transformãri ulterioare (schimbãri de tâmplãrie, creieri de goluri pentru uši) ši zidirea prin øesere a completãrilor necesare fixãrii tâmplãriilor, mai ales atunci, când – nu a rareori – lipsesc buiandrugii, tâmplãria fiind obligatã sã se transforme în element de descãrcare a golului.
Uncertainties in decisions concerning interventions: (a) – do old door and window openings belong to the built heritage? Is it only the frame, or maybe the lintel arch that belongs to the built heritage, or do we need to protect the ensemble of the communications system, including the plaster preserved in the door or window lining? (b) – do we need to preserve the old openings in load-bearing
Incertitudinile deciziilor de intervenøii: (a) – golurile de uši ši ferestre de altã datã aparøin sau nu patrimoniului construit? Fac parte din patrimoniul construit doar ancadramentul, eventual arcul buiandrug, sau este de protejat ansamblul sistemului de comunicare, inclusiv tencuiala ne–îndepãrtatã din cãptušeala ušilor sau a ferestrelor? (b) – sunt de pãstrat golurile de altã datã în pereøii portanøi chiar
Tusnad 2005
Baia Mare
walls, even if they are (i) not in use, (ii) constitute the weak spots of the load-bearing substructure, and (iii) the manner they were walled up considerably reduces their load-bearing capacity during seismic movements, causes cracks during use and is aesthetically disturbing, also hindering use by (iv) reducing the phonic or thermal isolation capacity?
dacã (i) nu sunt folosite, (ii) constituie puncte sensibile ale subansamblului de susøinere, iar (iii) modul actual de înzidire reduce simøitor capacitatea portantã la acøiuni seismice, fisurând în exploatare ši deranjând estetic, deranjând în exploatare inclusiv prin (iv) izolaøie fonicã sau termicã mai redusã? (c) – este inginerul obligat sã desfiinøeze golurile existente în
(c) - does the engineer have to eliminate the openings in the loadbearing walls, for reasons of safety in use and during earthquakes, without through prior research? How thorough should these researches be (for example: should he expose at least 10% of the wall surface for identifying all openings), in order to meet the legal requirement of 15% stipulated in the general specifications under "diverse and unforeseen factors"? (d) – how thoroughly should walled up door and window openings be described by surveys, by wall-face and art historic studies, by specifications meant to provide equal chances to those participating at the tender for design (for elaborating equally complex documentations) or execution (for appreciating correctly the possible amount of work)? (e) – who is to describe the walled up door and window openings: the art historian (since they belong to the heritage), the architect (since important architectural elements are involved), the building physics expert (since they raise thermal and phonic insulation issues) or the structural engineer (since the loadbearing walls belong to the load-bearing structure)? (f) – who reads the documentation before opening them up and who compiles them? (g) – what does the building documentation contain of all this and who introduces the data? (how often do we see building
pereøii portanøi, din motive de siguranøã în exploatare ši la cutremur, fãrã a face cercetãri de fond? Cât de ample sã fie aceste cercetãri (de exemplu: sã se dezveleascã cel puøin 10 % din suprafaøa pereøilor, în vederea constatãrii a tuturor golurilor), inclusiv pentru a se încadra în limitele legale la capitolul "diverse ši neprevãzute" din devizul general de 15%? (d) – golurile de uši ši ferestre înzidite cât de amplu trebuie sã aparã în relevee, în studiul de parament, de istoria artei, în caietele de sarcini care asigurã šanse egale pentru cei care participã la licitaøii de proiectare (sã elaboreze documentaøii de egalã complexitate) sau de execuøie (sã aprecieze corect volumul posibil de lucru)? (e) – cine descrie golurile de uši ši ferestre înzidite: istoricul de artã, (deoarece este parte de patrimoniu), arhitectul (deoarece sunt puse în discuøie detalii de arhitecturã importante), expertul de fizica construcøiilor (deoarece se pun în discuøie probleme de izolare termicã ši fonicã) sau inginerul de structurã portantã (deoarece pereøii portanøi aparøin structurii portante)? (f) – ce se documenteazã înaintea desfacerii ši cine documenteazã? (g) – ce conøine cartea construcøiei din toate acestea ši cine le introduce? (parantezã: cât de des se vãd cãrøi ale construcøiei care prezintã cu piese scrise ši desenate transformãrile de
Tusnad 2005
Baia Mare
documentations describing in detail and with drawings the transformations of openings, and has the correctness of these descriptions ever been checked?) (h) – what aspects of opening transformations should be discussed in the feasibility study? (i) – what is the minimal amount of time allowed for the survey, the wall-face study, the study of the previous functional conception aimed at identifying all transformations of openings in load-bearing walls? (j) – what is the minimal cost of all this? (k) – how big is the heritage value lost if previous openings disappear without traces, or without documentation?
goluri ši dacã s–a verificat vreodatã corectitudinea celor trecute în cartea construcøiei?) (h) – ce se trece în studiul de fezabilitate legat de transformãrile de goluri? (i) – care este timpul minim afectat relevãrii, cercetãrii de parament, studiului concepøiei funcøionale anterioare în vederea identificãrii tuturor transformãrilor de goluri în pereøii portanøi? (j) – care este preøul de cost m\\inim pentru toate acestea? (k) – cât de mare este pierderea de valoare de patrimoniu, dacã golurile anterioare dispar fãrã urme fizice? Dar dacã dispar ši fãrã documentare?
(l) – what is the financially sustainable degree of detailing today, when money and specialists are both scarce? (m) – what are the rational limits of involvement - how much should be done, if we had the specialists and the money needed? Are we constrained by time and actual heritage value? (n) – does it have any heritage value if we open up the masonry next to the openings (including lintels) and reconstruct them with reinforced masonry (including masonry arches), using old-shaped, but newly produced bricks, M50 cement (not lime-) based mortar all this for the aesthetic illusion of historic houses with visible original openings, filled with recessed masonry? (o) – what are the western - or EU, if you will - specifications in this area? Are there any, and if yes, how thorough are they? (p) – is the introduction of a metal "ring" encircling the historic masonries and improving the resistance of embrasures to seismic action in conformity with the accepted principles of built heritage conservation? (r) – do decorations functioning as lintels (like the one in the picture), relying on the self-vaulting capacity of masonries have anything to do with built heritage conservation?
(l) – care este gradul de detaliere financiar posibil de susøinut (azi, când nu se dispune de speciališti ši nici de bani muløi)? (m) – care sunt limitele raøionale ale implicãrii – cât ar trebui fãcut, dacã am avea speciališti ši bani destui: suntem limitaøi de timp ši de valoarea efectivã de patrimoniu? (n) – are vreo valoare de patrimoniu desfacerea zidãriei din zonele adiacente golurilor (inclusiv a buiandrugilor) ši refacerea lor din zidãrii armate (respectiv cu arce zidite), cu cãrãmizi format vechi, dar fabricaøie nouã, cu mortar M50 de ciment, ši nu de var – toate acestea doar pentru o iluzie esteticã legatã de case istorice cu goluri originale vizibile, obturate prin umpluturi zidite retras? (o) – care sunt prevederile din vest legate de subiect – dacã vreøi din Comunitatea Europeanã? Existã, sau nu, respectiv cât de ample sunt? (p) – dacã dispunerea unor „corsete" metalice care sã înconjoare zidãriile istorice, îmbunãtãøând comportarea špaleøilor la solicitãri seismice este în conformitate cu principiile acceptate de reabilitare a patrimoniului construit? (r) – dacã decoraøiunile cu rol de buiandrug, care utilizeazã capacitatea de auto-boltire a zidãriilor – aša cum se vede în pozã, au ceva cu protecøia patrimoniului construit?
Tusnad 2005
Baia Mare
Tusnad 2005
Baia Mare
3.) STACKS AND CHIMNEY FLUES
(3.) CANALE ŠI COŠURI DE FUM
Stacks and chimney flues evacuate the burnt gases produced in the process of burning fuel, generally meant to warm up spaces, serving household needs and other functions. The flues are built into the wall, while stacks appear as individual elements, regularly on the attic floor level. Especially from the baroque period they are conceived as true works of technical art, having great heritage value. Despite - or regardless of - their immense weight situated at great height from the points of fixing into the foundation, which makes them fatal during earthquakes, stacks are for ever parts of the image of a historic building. \Grouped chimney flues, often serving neighbouring rooms, are generally situated at intersections of load-bearing walls; the walls are often bound by ½ brick wide masonry bevelling. The lack of bevelling between intersecting load-bearing walls considerably reduces the load-bearing capacity of the loadbearing structure during earthquakes, and the stability of loadbearing elements, including gravitational stability. The bricks exposed at high temperatures and overheated several times are burnt and become porous. Stacks and loadbearing masonry areas with chimney flues are generally selfsupporting only, not having reserves of load-bearing capacity for supporting other load-bearing elements. Moreover, it is forbidden that roof structure elements bear on them, or that they intersect with these timber elements. Horizontal, or almost horizontal chimney flues are very dangerous, significantly diminishing the active cross-section of load-bearing walls. The branches of horizontal or almost horizontal chimney flues are also quite sensitive. Since most chimney flues are not covered, rain water comes into direct contact with heated bricks and contributes to the internal erosion of smoke vents. There are even cases when the flues are clogged by objects falling from above, resulting in moistening in periods when the stack is not used. Chimney flues are often characterized by cracked plastering, the plaster being also overheated and burnt. Moreover, smoke black penetrates the strata of plaster and rendering, often leaving spots on wall surfaces. Rehabilitation methods can differ radically, consisting of interventions of different visions and depth: (1) - removing the cracked plaster and applying a new stratum in flue area, without intervening into the masonry; (2) - removing the burnt areas damaged by high temperatures, repairing the flue and stack using the historic technology of their time of construction; (3) - removing the areas burnt by high temperatures, repairing the masonry and eliminating any trace of the flue, preserving (eventually restoring) the stone frames around the flue's cleaning doors.
Canalele ši cošurile de fum servesc evacuãrii gazelor arse produse în procesul de ardere a materialelor combustibile utilizate de regulã pentru încãlzirea špaøiilor, activitãøi gospodãrešti ši altele. Canalele sunt înglobate în pereøi, cošurile apar ca elemente independente, de regulã peste nivelul planšeului acoperiš. Mai cu seamã din perioada barocã se concep pentru a fi adevãrate opere de artã tehnice de mare valoare de patrimoniu. În ciuda – mai bine zis indiferent de – imensa lor greutate dispusã la mare înãløime de punctele de încastrare în terenul de fundare, (astfel) ucigaše cu ocazia cutremurelor, cošurile de fum sunt legate pentru totdeauna de imaginea monumentului istoric. Canale de fum – grupate ši servind încãperi adiacente nu a rareori – sunt de regulã dispuse la intersecøii de pereøi portanøi; legãturile dintre ziduri adeseori se realizeazã prin teširi zidite de ½ cãrãmidã lãøime. Lipsa øeserilor dintre pereøii portanøi care se intersecteazã reduce simøitor capacitatea portantã a ansamblului de structurã portantã la acøiuni seismice ši stabilitatea elementelor portante inclusiv la acøiuni gravitaøionale. Fiind supuse la temperaturi mari, supraîncãlzite în repetare rânduri, cãrãmizile sunt arse ši devin poroase. De regulã cošurile de fum, sau zonele din zidãrii portante cu canale de fum sunt doar autoportante, neavând rezerve de capacitate portantã pentru a susøine alte elemente portante - mai mult: se interzice rezemarea elementelor de šarpantã, respectiv intersecøia cošurilor cu aceste elemente din lemn). Sunt deosebit de periculoase canalele de fum orizontale, sau apropiate de poziøia orizontalã, diminuând mult secøiunea transversalã activa a zidurilor portante. De asemenea sunt sensibile ramurile cošurilor de fum dispuse orizontal sau aproape orizontal. Majoritatea cošurilor de fum ne fiind acoperite, apele pluviale ajung în contact direct cu cãrãmizile încãlzite ši contribuie la erodarea interioarã a orificiilor de fum. Sunt inclusiv situaøii, când canalele ajung colmatate de obiecte ce cad de sus, rezultând umectãri în perioade în care cošul nu este utilizat. Traiectoria canalelor de fum de multe ori este marcatã de tencuiala fisuratã, fiind supraîncãlzitã ši arsã ši ea. Mai mult, negrul de fum trece prin straturile de tencuialã, ši de zugrãvealã, nu a rareori pãtând suprafeøele de perete. Mãsurile de reabilitare pot sã fie radical diferite între ele, marcând intervenøii de diferite optici sau adâncimi, astfel: (1) – desfacerea tencuielilor fisurate ši aplicarea unui strat nou de tencuialã în zona canalului de fum, fãrã intervenøie la zidãrie; (2) – desfacerea zonelor arse afectate de temperaturile înalte, refacerea canalelor ši cošurilor cu tehnologia istoricã aferentã perioadei de realizare; (3) – desfacerea zonelor arse afectate de temperaturile înalte, zidãria fiind completatã, eliminând în totalitate orice urmã de canal de fum, pãstrând (eventual restaurând) ancadramentul din piatrã în jurul gurilor de curãøire a cošurilor de fum;
Solution (1) preserves the most historic material, but runs counter to the anti-seismic safety rules and can cause aesthetic and functional deficiencies as well. Solution (2) preserves less historic material, it also breaches the anti-seismic safety regulations, but it preserves the original conception of the heating system, including the possibility of using it, if so wished. Solution (3) respects the anti-seismic safety regulations, but has nothing to do with the philosophies of preserving heritage values.
Soluøia (1) pãstreazã cel mai mult material istoric, contravine regulilor de asigurare a siguranøei antiseismice ši poate cauza inclusiv deficienøe de ordin estetic ši de exploatare. Varianta (2) pãstreazã mai puøin material istoric, contravine de asemenea regulilor de asigurare a siguranøei antiseismice, dar pãstreazã concepøia istoricã a sistemului de încãlzire ši inclusiv posibilitatea de a folosi acest sistem, dacã se dorešte. Posibilitatea (3) respectã prescripøiile privind siguranøa antiseismicã, dar nu are nimic comun cu doctrinele protecøiei
Tusnad 2005
Baia Mare
All things considered, we need to chose between having houses that survive earthquakes, but a part of their heritage value - the system of eliminating burnt gases - is lost, or houses preserving these heritage values, but the functioning of which is disturbed by spots on the plaster around the flues, and are destroyed by seismic events, all this because of a heritage value possibly not even listed, because of the limitations of the present listing system. I personally think that the chimney flue system (immortalizing the empirical-intuitive hydraulic conception of ensuring natural draft) represents a much greater heritage value than the stone frame realized around the cleaning door of the flue (which only bears witness to the skill of the stonemason and the aesthetic sense of himself as well as the owner.), although this decorative element is a favourite for restoration by architects. There are several major issues to be decided, regarding the ways of preserving technical masterpieces that used to provide the warmth of homes for centuries. (a) - do stacks and chimney flues belong to the built heritage or not? Is it only the image of a house with a stack, maybe the visible geometry in the attic, or the whole system of evacuating burnt gases that is to be protected? (b) - should stacks and chimney flues be preserved, even if they are situated at the most vulnerable points of the supporting substructure, in the areas of binding between transversal and longitudinal diaphragms, having a masonry weakened by the overheating of bricks, if they are out of use and disturb the use of the building by causing spots of smoke black to appear on plastered surfaces via joints and cracks? (c) - does the engineer have to eliminate chimney flues for reasons of safe use (see picture) and anti-seismic safety, without thorough research? How thorough should these researches be (for example: should it reveal at least 10% of the chimney flue surface to inspect the technical condition of flues), in order to meet the legal requirement of 15% stipulated in the general specifications under "diverse and unforeseen factors"? (d) - how detailed a description of chimney flue and stack substructures should be given by the survey, wall-face and art historic study, by specifications meant to provide equal chances to those participating at the tender for design (for elaborating equally complex documentations) or execution (for appreciating correctly the possible amount of work)? (e) - who describes the chimney flues and stacks: the art historian (since they belong to the heritage), the architect (since they involve important architectural details), the heating engineer (since they belong to the traditional heating system) or the structural engineer (since they belong to the load-bearing structure)? (f) - who reads the documentation before opening them up and who compiles them? (g) - what does the building documentation contain of all this and who introduces the data? (how often do we see building documentations describing in detail and with drawings chimney flues and stacks, and has the correctness of these descriptions ever been checked?) (h) - what aspects of chimney flues and stacks should be discussed in the feasibility study? (i) - what is the minimal amount of time allowed for the survey, the wall-face study, the study of the empirical-intuitive conception of the smoke evacuation system? (j) - what is the minimal cost of all this? (k) - how big is the loss in heritage value if stacks are sacrificed?
valorilor de patrimoniu. La limitã, este de ales dintre case istorice care rãmân în urma cutremurelor, dar cu o parte de patrimoniu - sistemul de eliminare a gazelor arse – desfiinøat, ši cele cu aceste valori de patrimoniu pãstrate, dar deranjate în exploatare de tencuieli pãtate în dreptul canalelor de fum ši distruse de evenimente seismice (din cauza unor valori de patrimoniu, care poate nici nu sunt trecute – conform metodologiei de listare a acestora – pe lista valorilor de protejat ale monumentului istoric). Personal cred, cã sistemul de canale de fum este mult mai valoros din punctul de vedere al patrimoniului (imortalizeazã concepøia hidraulicã empirico-intuitivã de asigurare a tirajului natural) decât ancadramentul de piatrã realizat în jurul gurii de curãøire a cošului (care atestã doar îndemânarea pietrarului ši simøul estetic inclusiv al proprietarului), piesa decorativã larg îndrãgitã ši pusã în valoare de arhitecøi restauratori. Este de decis în privinøa mai multor întrebãri majore, care se leagã de modul de protecøie a unor capodopere tehnice, prin care sute de ani s-a asigurat cãldura cãminelor: (a) – cošurile ši canalele de fum aparøin sau nu patrimoniului construit? Aparøine doar imaginea de casã cu coš, eventual geometria vizibilã în pod, sau este de protejat ansamblul de sistem de evacuare a gazelor arse? (b) – sunt de pãstrat cošurile ši canalele de fum, chiar dacã sunt dispuse în puntele cele mai sensibile ale subansamblului de susøinere – în zonele de întreøesere diafragme transversale ši longitudinale - au zidãriile slãbite prin supraîncãlzirea cãrãmizilor, dacã nu sunt folosite ši dacã deranjeazã în exploatare prin pãtarea suprafeøelor tencuite de negrul de fum care se transmite prin rosturi ši fisuri? (c) – este inginerul obligat sã desfiinøeze canalele de fum, din motive de siguranøã în exploatare (a se vedea unul dinte poze) ši la cutremur, fãrã a face cercetãri de fond? Cât de ample sã fie aceste cercetãri (de exemplu: sã se dezveleascã cel puøin 10 % din suprafaøa canalelor de fum, în vederea constatãrii stãrii tehnice a canalelor), inclusiv pentru a se încadra în limitele legale la capitolul „diverse ši neprevãzute’’ din devizul general de 15%? (d) – subansamblul de canale ši cošuri de fum cât de amplu trebuie sã aparã în relevee, în studiul de parament, de istoria artei, în caietele de sarcini care asigurã šanse egale pentru cei care participã la licitaøii de proiectare (sã elaboreze documentaøii de egalã complexitate) sau de execuøie (sã aprecieze corect volumul posibil de lucru)? (e) – cine descrie canale ši cošurile de fum: istoricul de artã, (deoarece este parte de patrimoniu), arhitectul (deoarece sunt puse în discuøie detalii de arhitecturã importante), inginerul instalator (deoarece aparøine instalaøiei tradiøionale de încãlzire) sau inginerul de structurã portantã (deoarece aparøin structurii portante)? (f) – ce se documenteazã înaintea desfacerii ši cine documenteazã? (g) – ce conøine cartea construcøiei din toate acestea ši cine le introduce? (parantezã: cât de des se vãd cãrøi ale construcøiei în care se prezintã cu piese scrise ši desenate canalele ši cošurile de fum ši dacã s-a verificat vreodatã corectitudinea celor trecute în cartea construcøiei?) (h) – ce se trece în studiul de fezabilitate legat de canale ši cošuri de fum? (i) – care este timpul minim afectat relevãrii, cercetãrii de parament, studiului concepøiei empirico-intuitive a sistemului de evacuarea fumului?
Tusnad 2005
Baia Mare
(l) - what is the financially sustainable degree of detailing today, when money and specialists are both scarce? (m) - what are the rational limits of involvement - how much should be done, if we had the specialists and the money needed? Are we constrained by time and actual heritage value? (n) - does it have any heritage value if we demolish chimney stacks and reconstruct them in reinforced masonry, using oldshaped, but newly produced bricks, M50 cement (not lime-) based mortar, or replace them with plasterboard stacks - all this for the aesthetic illusion of historic houses with stacks? (o) - what are the western - or EU, if you will - specifications in this area? Are there any, and if yes, how thorough are they? (p) - how much of the technical heritage, of the load-bearing and borne elements (plasters and rendering, floors and stairs, ventilation and heating systems) should we protect?
(j) – care este preøul de cost minim pentru toate acestea? (k) – cât de mare este pierderea de valoare de patrimoniu, dacã cošurile sunt sacrificate? (l) – care este gradul de detaliere financiar posibil de susøinut (azi, când nu se dispune de speciališti ši nici de bani muløi)? (m) – care sunt limitele raøionale ale implicãrii – cât ar trebui fãcut, dacã am avea speciališti ši bani destui: suntem limitaøi de timp ši de valoarea efectivã de patrimoniu? (n) – are vreo valoare de patrimoniu desfacerea cošurilor de fum ši refacerea lor din zidãrii armate, cu cãrãmizi format vechi, dar fabricaøie nouã, cu mortar M50 de ciment, ši nu de var, sau cu cošuri din gipscarton – toate acestea doar pentru o iluzie esteticã legatã de case istorice cu coš de fum (o) – care sunt prevederile din vest – dacã vreøi din Comunitatea Europeanã? Existã, sau nu, respectiv cât de ample sunt?
(r) – what are the scientific limits of applying anti-seismic measures if the hundreds of years old historic building shows no signs of earthquake attack, how much should be spent on research to define the minimal measures necessary to provide anti-seismic safety? (s) – could we imagine some museum-houses where these chimney flue systems would be exhibited half-cleaned, so that ordinary men could admire their mastery?
(p) – cât din patrimoniu tehnic – portant ši purtat este de protejat: tencuieli ši zugrãveli, pardoseli ši scãri, sisteme de ventilaøie ši de încãlzire? (r) – care sunt limitele štiinøifice de aplicare a mãsurilor antiseismice: dacã casa istoricã de sute de ani de existenøã nu are nici o urmã de atac seismic, cât se poate cheltui pe cercetãri pentru a pretinde mãsuri minime necesare în vederea asigurãrii siguranøei seismice? (s) – sunt de imaginat câteva case muzee, unde s-ar expune la vedere aceste sisteme de canale de fum, semidecapate, pentru a se putea urmãri mãiestria lor chiar de omul strãzii?
Tusnad 2005
Baia Mare
David LOVIE
Development and Conservation of Grainger Town, Newcastle upon Tyne, UK Dezvoltarea ši reabilitarea Orašului Grainger, Newcastle upon Tyne, Marea Britanie ABSTRACT OF TALK BY DAVID LOVIE, President of the UK Institute of Historic Building Conservation (assisted by Fiona Cullen/ George Tullin of Newcastle City Council).
REZUMATUL DISCURSULUI DL-UI DAVID LOVIE, Prešedintele Institului de Conservare a Clãdirilor Istorice, Marea Britanie (asistat de cãtre Fiona Cullen/ George Tullin, reprezentanøi ai Consiliului local al orašului Newcastle).
INTRODUCTION TO NEWCASTLE UPON TYNE
PREZENTAREA ORAŠULUI NEWCASTLE UPON TYNE
– Nominally Regional Capital of England's North East Region although elected, Regional Government was turned down by a North East referendum in 2004. – A City of 275,000 people in a twin rivers conurbation (Tyne and Wear) of 3 Towns and 2 Cities of 1.2 million people in total. – Contains a Roman fort and bridge, a Saxon town and 1,000 years of post- Norman industrial, commercial and residential development. – The major industries along the River Tyne included coal mining, ship building, – railway engineering and military manufacturing, all now in decline. – The economy of the City is now based on retailing, communications, commercial, cultural/entertainment and manufacturing activities.
– Capitala simbolicã a regiunii nord-estice a Angliei, deoarece guvernarea regionalã a fost respinsã prin referendum în regiunea nord-esticã a øãrii în 2004. – Un oraš cu 275.000 locuitori într-o conurbaøie formatã din 3 oraše mici ši 2 oraše mari, cu un total de 1,2 milioane locuitori în total, cu 2 fluvii – Tyne ši Wear. – În oraš se gãsešte o fortificaøie ši un pod roman, un oraš saxon ši 1000 ani de dezvoltare industrialã, comercialã ši rezidenøialã post-normandã. – Cele mai importante ramuri ale industiei de-a lungul fluviului Tyne au fost exploatarea de cãrbune, construcøii navale, construcøii de cãi ferate ši produse militare, toate fiind în declin în zilele noastre. – Economia orašului se bazeazã acum pe comerøul cu amãnuntul, comunicaøii ši activitãøi comerciale, culturale/ distractive ši de producøie artizanalã.
INTRODUCTION TO THE UK PLANNING SYSTEM
PREZENTAREA SISTEMULUI DE PLANIFICARE DIN MAREA BRITANIE
– Planning authorities are Counties, County Districts/Boroughs and urban Cities or Boroughs, all under much direction from the National Government. – The future is planned through Spatial Plans (soon to be supported by Community Plans) and Policy Guidance, all of which are delivered by Local Action Plans and Development Control. – Conservation of the Historic Environment is achieved by statutory protection, targeted grant aid and proactive heritage-led regeneration. – Grainger Town, Newcastle upon Tyne, is one of the earliest and best Heritage-led regeneration projects in the UK (it received the UK's Royal Town Planning Institute's Silver Jubilee Cup for Planning Achievement in 2003) and in Europe (it received a Europa Nostra Award in 2004).
– Autoritãøile decizionale sunt consiliile judeøene, de comitate/ comune ši oraše sau comune, toate fiind sub direcøia guvernului naøional. – Planurile de dezvoltare se realizeazã prin Planuri Spaøiale (care vor fi sprijinite în curãnd de Planuri Comunitare) ši Instrucøiuni Procedurale, care provin din Planuri de Acøiune Locale ši Control de Dezvoltare. – Reabilitarea mediului istoric se realizeazã prin protecøie statutarã, sprijin financiar vizat ši revitalizarea proactivã a moštenirii. – Grainger Town, Newcastle upon Tyne este unul dintre primele ši cele mai bune proiecte de revitalizare a moštenirii în Marea Britanie (a primit Cupa Jubiliarã de Argint de la Institutul Regal de Urbanism din Marea Britanie în 2003) ši în Europa (a fost distins cu premiul Europa Nostra în 2004).
INTRODUCTION TO GRAINGER TOWN
PREZENTAREA ORAªULUI GRAINGER
– Since 1992, Grainger Town is the name that has been given to the historic heart of the City of Newcastle. – It covers about 36 hectares of office, retail, residential, leisure and cultural uses. – It takes its name from the series of elegant streets of 'Tyneside Classical' architecture that were conceived as a whole and built by Newcastle's Richard Grainger (1797-1861) between 1835 and 1842.
– Din 1992 centrul istoric al orašului Newcastle a fost denumit Orašul Grainger. – Are o suprafaøã de aproximativ 36 de hectare cu birouri, magazine ši o zonã rezidenøialã, culturalã ši de distracøie. – Denumirea provine de la elegantele strãzi construite în stil „Tyneside Classical” de cãtre Richard Grainger din Newcastle (1797-1861) între 1835 ši 1842.
Tusnad 2005
Baia Mare
ORIGINS OF THE REGENERATION PROJECT
ORIGINILE PROIECTULUI DE RESTAURARE
– Although revolutionary in its day, by the late 20 th century Grainger Town was in a poor condition and in need of attention. – The 1992 'Grainger Town Study' found deep-seated heritage, environmental, economic, social and cultural problems in the area which was still not recognised as being of regional, let alone national, architectural and historic importance.
– Deši considerat revoluøionar la timpul sãu, la sfãršitul secolului XX. Orašul Grainger se afla într-o condiøie precarã ši necesita toatã atenøia. – „Studiul Orašului Grainger" din 1992 a descoperit probleme grave legate de patrimoniu istoric, mediu înconjurãtor, probleme economice, sociale ši culturale în aceastã zonã, care nici atunci nu a fost recunoscutã ca avãnd importanøã regionalã, naøionalã, arhitecturalã sau istoricã.
Grey Street by night
Strada Grey -noaptea
– In 1994 some initial repair work was carried out on the worst buildings at risk but by 1996 it was agreed that the problems were beyond discrete rescue schemes - only a comprehensive sustainable heritage-led regeneration scheme, encompassing economic, social and cultural development, would do.
– În 1994 au fost efectuate lucrãri iniøiale de reparaøie la clãdirile cele mai deteriorate, dar pãnã în 1996 s-a constatat cã aceste probleme necesitau mai mult decãt nište acøiuni discrete de salvare – numai o strategie cuprinzãtoare ši durabilã de restaurare a patrimoniului istoric, care poate rezolva problemele de dezvoltare economicã, socialã ši culturalã.
THE GRAINGER TOWN VISION
CONCEPØIA ORAŠULUI GRAINGER
"Grainger Town will become a dynamic and competitive location in the heart of the City. Grainger Town will develop its role in the regional economy within a high quality environment appropriate to a major European capital. Its reputation for excellence will be focussed on leisure, culture, the arts and entrepreneurial activity. Grainger Town will become a distinctive place, a safe and attractive location to work, live and visit."
„Orašul Grainger va deveni un loc dinamic ši competitiv în inima orašului Newcastle. Orašul Grainger îši va dezvolta rolul în economia regionalã într-un mediu înconjurãtor de calitate superioarã potrivit unei importante capitale europene. Reputaøia sa de excelenøã se va concentra asupra unor activitãøi culturale, artistice, de divertisment ši de întreprindere. Orašul Grainger va deveni un loc deosebit, un spaøiu sigur ši atrãgãtor pentru cei care vor sã munceascã ši sã trãiascã aici, sau pentru cei care vor doar sã-l viziteze."
Tusnad 2005
Baia Mare
REGENERATION THEMES OF THE PROJECT
PRINCIPIILE DE REABILITARE ALE PROIECTULUI
– No regeneration project can deal with every aspect of the life of an area – the skill comes in choosing those that are right for the time and the budget. – The themes chosen for attention in the regeneration of Grainger Town for the six years between 1997 and 2003 were: Quality of Environment; Business Development; Housing Development; Non-housing Property Development; Access to Employment Opportunity; Arts, Culture and Tourism; and Management, Marketing and Promotion. Conservation was a thread that was woven into everyone of these themes.
– Nici un proiect de reabilitare nu poate sã ia în considerare toate aspectele vieøii ale unei regiuni – priceperea se dovedešte la alegerea acelor aspecte care sã se încadreze cel mai bine în epocã ši în buget. – Principiile de revitalizare a Orašului Grainger pe cei 6 ani, între 1997 ši 2003 au fost: Calitatea mediului înconjurãtor; Dezvoltarea afacerilor; Dezvoltarea construcøiei de locuinøe; Dezvoltarea proprietãøilor nerezidenøiale; Accesul la locuri de muncã; Artã, Culturã ši Turism; ši Management, Marketing ši Promovare. Conservarea a fost inclusã în fiecare dintre aceste proiecte.
The Heart of Grainger Town
Inima orašului Grainger
PROJECT STRUCTURE
STRUCTURA PROIECTULUI
– The programme was delivered by the Grainger Town Partnership, an 'arms length' company limited by guarantee. – The Partnership Board of 20 Directors, was made up of 6 City Councillors, 6 from public agencies involved in the Partnership, 6 from the private sector and 2 Grainger Town residents. – The Board was supported by six specialist panels including Residents and Business Forums. – The Project was implemented by a dedicated team of 14 officers based in the heart of Grainger Town itself.
– Programul a fost oferit de Parteneriatul Orašului Grainger, o societate limitatã prin garanøie. – Consiliul format din 20 de directori al Parteneriatului a fost alcãtuit din 6 membri ai Consiliului local, 6 reprezentanøi ai unor agenøii naøionale, care fac parte din Parteneriat, 6 reprezentanøi ai sectorului privat ši 2 locuitori ai orašului Grainger. – Consiliul a fost asistat de šase comisii de experøi, inclusiv Foruri de locuitori ši de afacere. – Proiectul a fost executat de o echipã devotatã de 14 demnitari cu biroul aflat chiar în centrul orašului Grainger.
Tusnad 2005
Baia Mare
SUCCESS UPTO MARCH 2003 FORWARD STRATEGY AND MAINTENANCE CHARTER
REALIZÃRI PÃNÃ ÎN LUNA MARTIE 2003 STRATEGIA DE VIITOR ŠI CARTA DE ÎNTREØINERE
Output
lifetime target
actual March 2003
forecast March 2006
Rezultat
Jobs created
1900
1506
2299
Construction job Weeks
89,980
82,658
119,866
Training weeks 5415
5080
5080
New businesses 199
286
329
New/improved 74,000 floorspace (m2)
80,900
123,952
Duratã de viaøã
actualã Martie2003
preconizat Martie 2006
1900 Locuri de muncã create
1506
2299
Sãptãmãni de 89.980 lucrãri de construcøii Sãptãmãni de 5415 instruire 199 Afaceri noi
82.658
119.866
5080
5080
286
329
Spaøii noi/ îmbunãtãøite
74.000
80.900
123.952
522
289
572
121
131
145,4 m GBP
195m GBP
(m2) New 'houses'
522
Buildings back 70 into use Private funds £74m attracted
289
572
„Case" noi
121
131
£145.4m
£195m
70 Clãdiri din nou utilizabile 74 m GBP Fonduri private atrase
– In its last two years, the Partnership developed a Forward Strategy to provide aseamless transition to successor bodies. – A Maintenance Charter for owners was also put in place to deal with the maintenance requirements of the area upto 2008. – Both the Strategy and Charter are now monitored and implemented by the City Council's City Centre Team and Panel, the successor of the Partnership.
– În ultimii doi ani ai sãi, Parteneriatul a dezvoltat o Startegie de Viitor pentru a realiza o tranziøie ušoarã la organele succesoare. – O Cartã de Întreøinere a fost pusã la dispoziøia proprietarilor privind detalii despre întreøinerea zonei pãnã în 2008. – Atãt Strategia, cãt ši Carta sunt monitorizate ši implementate de cãtre Echipa ši Consiliul „Centrului Orašului” de la Consiliul local, succesorii Parteneriatului.
ACHIEVEMENTS OF THE PROJECT
REALIZÃRILE PROIECTULUI
– The Grainger Town Project is now widely recognised as an exemplary regeneration scheme and its approach is being applied both in the UK and abroad. – It demonstrated the value of an early audit of heritage, the development of a 'civic vision', the importance of 'early wins' and the importance of creating an ethos of quality and excellence in design. – Its broad-based partnership created the leadership and integrated networking that is essential for the holistic conservation-planning approach that has been so successful. – It demonstrated the value of a dedicated professional project team, based in the area and with strong links to the conservation and development industries. – The Project has generated an economic, social and cultural renaissance that has enhanced the quality and reinforced the identity of the City centre, bringing life back into the historic heart of Newcastle upon Tyne.
– Proiectul pentru Orašul Grainger este recunoscut în domeniu ca fiind o strategie exemplarã de restaurare ši modul sãu de abordare se aplicã atãt în Marea Britanie cãt ši în alte øãri. – Proiectul a demonstrat valoarea unei verificãri timpurii a patrimoniului istoric, dezvoltarea unei "concepøii civice", importanøa unor "victorii de început" ši importanøa realizãrii unui spirit al calitãøii ši excelenøei în proiectare. – Parteneriatul complex în cadrul proiectului a creat o conducere ši o reøea integratã, care sunt necesare pentru concepøia integratã de conservare-planificare, care a avut un succes atãt de mare. – Proiectul a demonstrat valoarea unei echipe profesioniste devotate, cu sediul în zonã ši cu legãturi puternice cu industriile de conservare ši dezvoltare. – Proiectul a generat o renaštere economicã, socialã ši culturalã, care a îmbunãtãøit calitatea ši a consolidat identitatea centrului orašului, readucãnd astfel centrul istoric al orašului Newcastle upon Tyne la viaøã.
Tusnad 2005
Baia Mare
Jana KORENOVÁ, Peter VOLOŠCUK
Monument Preserving in the City of Bardejov (Slovakia) Protecøia monumentelor în orašul Bardejov (Slovacia) Bardejov, the centre of Upper Šariš Region, is located in the north-eastern part of Slovakia. In this territory the settlement was conditioned by the geographic position along the northsouth trade routes (the Baltic-Black Sea routes). The earliest written document of "terra Bardfa" with its extensive adjacent territory dates back to 1247 and it is mentioned in conjunction with the German settlers. Royal privileges, the craftsmen' skill and the merchants´ shrewdness turned this small locality into prosperous commercial frontier town, which attained the top of its fame and riches in the 15 th century. Economic development stimulated a rapid construction of the town. The Late-Gothic transformation of the town of Bardejov culminated in the construction of a new town hall situated in the centre of the main square. In the 16 th century Bardejov enjoyed the golden times of its cultural boom. The castes' rebellions, taking place during the 17th century, the wars and particularly the rise of the Western world by the time Bardejov stood apart from the trade routes, resulted in a sudden decay of the town. Most of burgher houses in the main square retained their original Gothic layout, particularly in the basements and the ground floors. One could find Gothic peripheral walls even at the first floor level. Some buildings were furnished with Gothic (Late-Gothic) elements. In the 16-18 th century burgher houses were modified to suit new needs, the prevailing taste and the aesthetic sense of the period. The buildings suffered the most devastating reconstruction after the great fire of 1878, which laid waste almost the whole of the square.
Bardejov, centrul de nord al regiunii Šariš, este situat în nord-estul Slovaciei. În aceastã zonã ašezarea a fost condiøionatã de poziøia sa geograficã care o situa pe rutele comerciale ce fãceau legãtura între nordul ši sudul Europei (ruta Marea Balticã-Marea Neagrã). „Terra Bardfa" ši teritoriile ce îi aparøineau sunt menøionate pentru prima oarã în documente scrise în 1247 în legãturã cu coloništii germani. Privilegiile regale, îndemânarea mešterilor ši iscusinøa negustorilor au transformat micul ašezãmânt întrun oraš prosper de frontierã care a ajuns la apogeul celebritãøii ši bogãøiei în secolul al XV-lea. Dezvoltarea economiei a stimulat construcøia rapidã a orašului. Transformãrile din perioada târzie a goticului au culminat în clãdirea primãriei din centrul pieøei principale. În secolul al 16-lea Bardejov a trãit epoca de glorie a dezvoltãrii culturale. Rebeliunile din secolul al XVII-lea, rãzboaiele ši mai cu seamã dezvoltarea Occidentului în timp ce Bardejov se afla izolat de rutele comerciale, au dus la decãderea rapidã a orašului. Majoritatea caselor burgheze din piaøa centralã au pãstrat planul gotic, mai ales la nivelul subsolului ši al parterului. Unele clãdiri dispuneau de zidãrie goticã chiar ši la nivelul primului etaj. Altele pãstrau detalii ši mobilier din perioada goticului târziu. În secolele XVI-XVIII casele burgheze au fost modificate conform noilor cerinøe, pe gustul ši sensibilitatea esteticã a utilizatorilor din aceastã perioadã. Clãdirile au fost cel mai mult alterate în urma incendiului din 1878, în care au pierit aproape toate casele pieøei. În 1902 a avut loc un al doilea incendiu.
In 1902, the town was burnt down once more. In 1878, after the conflagration, the roof shapes were changed bringing a markedly negative effect on the overall appearance of the square. In 1950, the most significant Slovakian towns were proclaimed preserved historical settlements. Among them the historic centre of Bardejov, with special regard to its almost intact historic urban tissue, the preserved city walls and sites with abundant historic elements of art and architecture. Meanwhile, the town's comprehensive recovery and revitalization were started.
În 1878, dupã dezastru, forma šarpantelor s-a schimbat, ceea ce a afectat în mod negativ imaginea pieøei. În 1950 cele mai importante oraše din Slovacia au fost declarate ašezãri istorice protejate. Printre acestea se afla ši orašul Bardejov în special pentru øesutul urban istoric aproape intact, zidurile orašului care s-au pãstrat ši siturile bogate în elemente de arhitecturã ši obiecte de artã. Totodatã a debutat restaurarea ši revitalizarea orašului pe baza principiului de asimilare a istoriei.
Tusnad 2005
Baia Mare
The rehabilitation of Bardejov began in the 1960s. The main idea of renovation was to preserve authenticity by an analytical method that presents the revealed artefacts. Most of the objects were reconstructed by preserving the elements of later styles, if they were found in good condition. This conception had also its negative effects because many burgher houses' wings were considered insignificant and demolished. In the 1970s it was settled that the ridge of pitched roofs should be positioned perpendicularly to the square façade according to the historical image of the buildings.
Reabilitarea Bardejovului a început în anii šaizeci. Principiul de bazã a renovãrii a constat pãstrarea autenticitãøii prin metoda analiticã care dezvãluia fiecare artefact descoperit. Majoritatea obiectelor au fost reconstruite astfel încât sau pãstrat ši elementele din etapele mai târzii, dacã acestea se aflau în stare bunã de conservare. Acest concept a avut însã ši o laturã negativã: aripile sau tronsoanele de clãdiri considerate nesemnificative au fost demolate. În anii šaptezeci, pentru clãdirile cu šarpantã s-a hotãrât poziøionarea coamelor de acoperiš perpendicular pe faøada principalã, conform imaginii istorice a pieøei.
Following the rehabilitation trend of those times, the square's walking surface wasn't renovated as a monument, but conceived as a new pavement. In the middle of the square river stone (imported from other region) was used.
Urmând principiile de restaurare din acea perioadã, pavajul pieøei nu a fost tratat conform unui monument istoric, ci pur ši simplu înlocuit. În centrul pieøei au fost montate pietre de râu (aduse din altã regiune) în pat de ciment.
Pieces were embedded in concrete, but this turned to be unsuitable for walking and thus not really functional. The new appearance of the main square (dating from 1986), beside historians, became on object of the public interest as well. In 1991, the "Principles of monument preservation" of the historic part of Bardejov were initiated. A new basic approach was proclaimed: that of reanimation of the town's square. The main requirements were, among others, to preserve every feature of the square, to create a new pavement, to reconstruct the historical configuration of the walking surface, to keep a unity for all materials used for the paving of the square etc. Following these principles, the rehabilitation of the square started in 2000 with an architectural competition. An archaeological research preceded the works. It was discovered that the original paving material was a stone from Topla River. The rehabilitation of the town's square was finished in August 2004.
Acest paviment s-a dovedit a fi incomod pentru pietoni ši prin urmare ineficient. Noua imagine a pieøei (de dupã 1986), pe lângã istorici a început sã-i preocupe ši pe cetãøenii de rând. În 1991 s-au formulat „Principiile de protecøie a monumentelor" pentru zona istoricã a Bardejovului. A fost proclamatã a nouã abordare de bazã: cea de revitalizare a pieøei centrale. Se urmãrea, printre altele, pãstrarea caracterului original al pieøei, realizarea unui pavaj nou prin reconstituirea configuraøiei istorice a nivelului de cãlcare, armonizarea tuturor materialelor de pavare pe întreaga suprafaøã a pieøei etc. Pe baza acestor principii, reabilitarea pieøei a debutat în 2000 printr-un concurs de amenajare arhitecturalã. Lucrãrile au fost precedate de cercetãri arheologice. În urma acestora s-a descoperit materialul original de pavare: piatrã din râul Topla. Reabilitarea pieøei s-a încheiat în august 2004.
Tusnad 2005
Baia Mare
Radoslav MOKRIS
Historical Town Protection in Košice (Slovakia), Experiences - Present - Vision Protecøia centrului istoric în Košice (Slovacia) Experienøe – Prezent – Viziuni
Today, more than any time before, the practical (daily) monument protection has to confront itself with the functional transforming of the historical town centre that has to adjust itself to the modern society's demands. The situation is very similar to the biblical one, the well-known story of King Solomon, who decided in a very diplomatic way to whom belong the child claimed by two mothers. Is there a diplomatic solution? The status quo of Slovakian cities is caused by recently generated opinions in the aesthetic and management approaches on how should be looking a town as a whole as well as in its particularities. According to what we know today, the authentic look of the town centre is the one preceding the Second World War. This supposition is an acceptable one because since then the town's use and way of functioning has changed, especially in the period of the Functionalism. The modern society brought a new way of using the town centre, altering its functions according to new needs. At their turn, new functions transformed the structure of historical town. This goes especially for traditional building crafts replaced by newly developed building construction technologies. It was more comfortable to "destruct and rebuild" than to save a building stock in decay and readapt it to new demands. Historical towns were affected by massive demolitions especially in the period of industrialisation and following that overwhelmed by a monotonous unified architecture. In the fifties, the former Czechoslovakia started to develop a historical building protection policy due to the enthusiastic atmosphere created by those who might seem discovering a national identity in historical building styles and trends. At that time, a great number of valuable theoretical works were published and it began the documentation of the historical building fund. Czechoslovak architects promoted a program for maintaining entire urban units, among them the historical cores of cities. It was contoured a category of so-called "preserved town monuments" with special guidelines. In this early period of monument protection following the war, Czechoslovakia was a leading country among European ones in the protection and rehabilitation of historical towns. In that short period many towns born to a new life through the renovation of building elevations and the repairing of medieval fortifications around historical cores. These city centres became examples of a concentrated protection of state monuments forming a cultural heritage. The problems appeared when the rehabilitation process advanced in the depth of the plot and started to deal with the substance behind elevations. They were brought mainly by inner modernisations, the low quality of materials, the lack of skills and craftsmanship. During the following decades, in the period of RealSocialism, the rehabilitation fever slowed down. The reason was the turn away of the society from traditional values towards industrialisation and the ideology of socialism that was supporting it. Irresponsible decisions, in contradiction with the principles of building-protecting urbanism, were taken. Due to
În prezent practica de zi cu zi a protejãrii monumentelor se confruntã mai mult ca oricând cu transformarea funcøionalã a centrului istoric, care la rândul sãu trebuie sã se conformeze cerinøelor societãøii moderne. Situaøia este asemãnãtoare cu binecunoscuta poveste din Biblie a regelui Solomon care a reušit sã judece în mod diplomatic soarta copilului revendicat de douã mame. Existã oare o soluøie diplomaticã? Status quo-ul orašelor din Slovacia este generat de noile opinii legate de abordarea esteticã ši managerialã care ne spun cum ar trebui sã arate un oraš atât în ansamblu, cât ši în particularitãøile sale. Conform cunoštinøelor noastre din prezent, înfãøišarea autenticã a centrului istoric este cea de dinaintea celui de-al doilea rãzboi mondial. Este o presupunere acceptabilã deoarece de atunci s-au schimbat atât modul de exploatare cât ši funcøiunea centrului, mai ales în perioada Funcøionalismului. Societatea modernã a impus un nou mod de utilizare al centrului transformând funcøiunile sale dupã noile cerinøe. Noile funcøiuni, la rândul lor, au transformat structura centrului istoric. Acest lucru este valabil mai ales pentru metodele tradiøionale de construire care au fost înlocuite de noi metode în tehnologia construcøiilor. A fost mai convenabil „a distruge ši a reclãdi” decât a salva un fond de clãdiri derãpãnate ši a le adapta noilor necesitãøi de confort. Centrele istorice au fost afectate de demolãri masive, procesul ajungând la culmi în perioada industrializãrii, care a fost urmatã de o coplešitoare reclãdire într-un stil monoton de arhitecturã unificatã. În anii cincizeci, datoritã atmosferei de entuziasm creatã de cei ce pãreau sã descopere identitatea lor naøionalã în stilurile ši mišcãrile arhitecturale istorice, fosta Cehoslovacie ši-a dezvoltat o legislaøie pentru protecøia clãdirilor istorice. În aceastã perioadã sau publicat numeroase lucrãri teoretice de calitate ši a debutat documentarea fondului de monumente istorice. Arhitecøii cehoslovaci au promovat un program de întreøinere pentru întregi unitãøi urbane, printre care ši centrele istorice. S-a conturat o categorie a „monumentelor urbane protejate” cu instrucøiuni speciale. În aceastã perioadã de debut în domeniul protecøiei de monumente care a urmat rãzboiul Cehoslovacia se afla în rândul liderilor europeni în domeniul protecøiei ši reabilitãrii zonelor istorice. În acest scurt timp multe oraše au renãscut în urma renovãrii faøadelor principale ši restaurarea fortificaøiilor medievale din jurul centrelor istorice. Aceste centre au devenit exemple de protecøie concentratã asupra monumentelor de importanøã naøionalã ce formau o moštenire culturalã. Problemele au apãrut odatã cu avansarea procesului de reabilitare pe adâncimea lotului unde faøada a fost înlocuitã de substanøa din spatele ei. Ele s-au ivit cu precãdere în urma lucrãrilor de modernizare interioarã ši au fost provocate de calitatea proastã a materialelor de construcøie, a lipsei de pricepere ši calificare a executanøilor. În cursul deceniile urmãtoare, în perioada realismului socialist, febra de restaurare a scãzut. Cauza a fost orientarea societãøii de la valorile tradiøionale cãtre industrializare ši ideologia socialistã care o susøinea. S-au luat decizii lipsite de responsabilitate ce contraveneau principiilor unui urbanism de
Tusnad 2005
Baia Mare
an unsuitable functional developing of certain city areas the urban quality of some Slovak cities was devalued. Comparing the urban developing of historical towns with those belonging to previous periods, the process seemed at least chaotic, as a consequence of rebuilding activities. Historical cores were threatened by "walls" of prefab block houses built during the seventies and eighties, which were forming an external "wrapping" ring around town centres. Today that peril is replaced by an even more dangerous menace: rebuilding houses inside the historical core. At first glance this form of danger seems to be less aggressive than socialistic demolitions and building directives, but in the end it means: – an enormous overloading of urban complexes' protected heritage; – the repression of cultural function in historical cores; – altering the traditional function of individual buildings. One could say that demolitions of historical buildings following the year 1989 were not so extensive. But historical spaces started to be exploited in a different way by their owners/ users. Destruction had much more to do with a massive loss of traditional values (habits in living and maintaining). New tenants were replacing the traditional furniture, the windowand door-frames, pavements, claddings, plasters, and removing ornaments. Elements, details and artefacts of historical buildings belonging to the protected urban area, which were used or at least tolerated until that moment, suddenly were adapted to new demands and running out of control. Changes happened as fast and irrevocably as tenets and owners were replacing each other. In some cases elements were altering in repetition or destructed and duplicated ("remaking of remake") many times only to satisfy a new businessman's needs or intentions, and sometimes because of failing entrepreneurs. The altering was done without quality, without a special preparing and managing faze, often without construction permissions, execution projects and research documentation, only based on verbal agreements between investor and entrepreneur. Today, we accept almost without criticism that the function of city centre was located directly into the town core as a consequence of old-fashioned ideas from last decades (and, of course, the back doors of the legal system). During the period of Real-Socialism, protected historical sites were the only alternative for habiting in a cultural environment. They were in contrast with the "barrack-zone" formed by prefab block houses, or with newly built and never finished residential centres. The territorial circumference of town centres was "frozen" into an unchangeable constant by establishing the socalled "pedestrian zone". During its development from the last century, the historical core of Kosice became a centre for important urban and regional functions. Still, it remained the pedestrian's space animated by the unique architecture of patrician houses that used to have public function on ground-floors. This public function turned to be a danger in our days, especially when connected with habitation. Inside the protected historical zone of Koºice, beside the main objects deserving protection that would be the elevations facing streets and squares, also courtyard-wings, the urban tissue, plot arrangements, fence-systems, courtyards, microspaces, passages and the miscellaneous collection of different shapes, forms and ornaments are saved. This feature is less
Tusnad 2005
Baia Mare
protejare a monumentelor. Calitatea urbanã a mai multor oraše slovace s-a devalvat din cauza unor dezvoltãri funcøionale inadecvate ale anumitor zone ale orašului. Comparând dezvoltarea urbanã a centrelor istorice din aceastã perioadã cu cele de dinainte, procesul pare cel puøin haotic din cauza activitãøii masive de reconstruire. Imaginea centrelor istorice a fost pusã în pericol de „cortina” de blocuri prefabricate construite în anii šaptezeci-optzeci ce formau un inel de „ambalaj” exterior în jurul acestora. Astãzi aceastã ameninøare este înlocuitã de un pericol ši mai mare: reconstruirea caselor în incinta zonei istorice. La prima vedere este un pericol mai puøin agresiv decât demolãrile ši directivele de construire din perioada socialistã, dar într-un final ele implicã: – o enormã suprasolicitare a zonelor protejate ale complexului urban; – reducerea funcøiunii culturale în centrul istoric; – transformarea funcøiunilor tradiøionale ale clãdirilor. Unii sunt de pãrere cã demolãrile clãdirilor istorice din perioada de dupã 1989 nu au fost atât de numeroase. Totuši, spaøiile istorice au început sã fie utilizate în mod diferit de cãtre noii proprietari/ chiriaši. De aceastã datã s-a renunøat la valorile tradiøionale de locuire ši întreøinere. Noii utilizatori au înlocuit obiectele tradiøionale de mobilier, au schimbat tâmplãria, pavajele, finisajele, tencuielile ši au distrus ornamentele. Elemente, detalii arhitecturale ši obiecte de artã ale clãdirilor monument care pânã în acel moment au fost utilizate sau cel puøin tolerate de locatari au fost adaptate noilor cerinøe, scãpându-se total situaøia de sub control. Transformãrile aveau loc la fel de rapid ši irevocabil precum se schimbau proprietarii ši locatarii. În unele cazuri transformãrile de elemente arhitecturale se øineau în lanø, în altele detaliile erau distruse ši mai târziu refãcute („replica replicii”) doar de moftul sau dorinøa unui nou investitor, dar ši din cauza ešuãrii executanøilor. Modificãrile erau de calitate inferioarã, fãrã o fazã de pregãtire ši de management, de multe ori executate fãrã permis de construire, proiecte de execuøie sau studii de cercetare, bazate doar pe un acord verbal între investitor ši antreprenor. În ziua de azi acceptãm aproape fãrã nici o criticã plasarea funcøiunii de centru civic direct în centrul istoric care de fapt este consecinøa ideilor demodate din deceniile trecute (devenit posibil, desigur, ši datoritã portiøelor sistemului juridic). În perioada realismului socialist zonele istorice protejate ofereau singura alternativã pentru locuirea într-un mediu cultural. Centrul istoric contrasta cu „zona barãcilor” format din blocurilor prefabricate sau cu noile centre rezidenøiale nefinalizate. Limita centrelor istorice a fost „bãtutã în cuie” ši transformatã într-o constantã prin stabilirea aša numitor „zone pietonale”. În cursul evoluøiei sale din ultimul secol zona istoricã a orašului Košice a devenit centrul unor importante funcøiuni urbane ši regionale. Totuši, a rãmas spaøiul pietonilor animat de arhitectura aparte a caselor burgheze, care pe vremuri adãposteau funcøiuni publice la parter. Aceastã funcøiune a devenit o ameninøare în zilele noastre, mai ales când ea este cuplatã cu funcøiunea de locuire. În incinta zonei protejate a orašului Košice, pe lângã faøadele principale care formeazã laturile strãzilor ši ale pieøelor, ši care sunt obiectul principal al procesului de reabilitare, øesutul urban, tronsoanele din curte, ocuparea loturilor, împrejmuirile, curøile, microspaøiile, pasajele ši o colecøie de diferite contururi, forme ši ornamente sunt salvate. Aceastã laturã este mai puøin evidenøiatã în cazul multor alte centre istorice protejate care chiar au fost
emphasised in other protected historical towns, which were even listed on the World's cultural heritage. Very often a historical building is valued according to the outlook of its main elevation, while inner spaces are radically transformed, courtyard-wings are torn down and replaced by parking plots. The protected historical core represents only 5.6 % of the urban territory of Kosice. Still, it is the largest protected historical zone in Slovakia. Its structure was developing as an urbanised territory during 700 years. Today, the historic core is a centre for cultural, business and social activities of the city, with 250,000 inhabitants. The medieval town is rounded by an immediate ring of well-developed city structure with a surface of 12-15 % from the urban territory, which was formed in about hundred years, and destroyed irreplaceably during the last 30 years in its greater part. The rest of the urban territory up to 15,143 ha is the result of an excessive spread that led to the present status quo. Bringing up the example of Kosice, the problem became evident: the historical town core is a minimal territory that can not serve a city as centre. For this reason one has to consider the territory of historical cores in a different manner than any other architectural substance. "Cities are the basic components in bringing prosperity in a global way to the nation as and particularly for the families. The industrial and commercial activities of urban territories make 50-80% of HDP in most of the countries. It is misbelieved that the problems of a city can be solved by dissuading people to live in cities... Problems in countryside are more severe. However, specialists agree that, in the future, the life quality of majority will be determinate by the developing level of cities."
trecute pe lista patrimoniului mondial. O clãdire istoricã foarte des este apreciatã doar pe baza înfãøišãrii exterioare a faøadei principale, în timp ce interiorul clãdirii a fost radical transformat, tronsoanele din curte demolate ši înlocuite cu parcaje. Zona istoricã protejatã reprezintã doar 5,6% din întreg teritoriul urban al orašului Košice. În ciuda acestui procent, este cea mai întinsã zonã protejatã din Slovacia. Structura sa s-a dezvoltat timp de 700 de ani în formã de oraš. Astãzi zona istoricã a devenit centrul activitãøilor culturale, de afacere ši sociale ale orašului adãpostind 250.000 locuitori. Orašul medieval este înconjurat de o zonã de impact cu o structurã urbanã bine dezvoltatã care întregešte o suprafaøã de 12-15% din totalul aglomeraøiei urbane. Aceastã zonã s-a dezvoltat în cca. 100 de ani ši a fost distrus în mare parte irecuperabil în ultimii 30 de ani. Restul teritoriului urban ce întregešte cei 15.143 ha este rezultatul unei expansiuni excesive care a condus la prezenta situaøie de status quo. Prin exemplul orašului Košice problema devine evidentã: zona istoricã a orašului este o suprafaøã mult prea redusã pentru a servi ca centru urban. Din aceastã cauzã zonele istorice trebuie tratate în mod diferit faøã de orice alte substanøe arhitecturale. „Orašele sunt componentele de bazã ale fãuririi prosperitãøii unei naøiuni în ansamblu sau al familiilor în particular. Activitãøile comerciale ši industriale ale zonelor urbane în majoritatea øãrilor întregesc 50-80% din venitul global pe cap de locuitor. În mod grešit unii cred cã problemele unui oraš congestionat pot fi rezolvate prin convingerea populaøiei de a se muta în mediul rural... Dar probleme din mediul rural sunt mult mai grave. Totuši, specialištii sunt de acord cã în viitor calitatea de viaøã a majoritãøii va fi determinatã de modul de dezvoltare a orašelor”.
Marc Weiss, director of Prague Institute for Global City-Development
Marc Weiss, directorul Institutului pentru Dezvoltarea Globalã a Orašelor, Praga
The above-mentioned facts must clarify how important will be the role of quality in shaping our urban environment. We can't agree with those architects who stand for a spontaneous development. If there is an ambition for adapting a historical town core to the needs of a modern city's centre, one has to consider this possibility as well. It is also important to realise that organising a historical core is first of all a kind of selected example of urbanism. If one calculates the surface of historical core and compare it with the entire urbanised territory from around – speaking of "medium-sized" European cities – the percentage will be minimal, only of few decimals. Therefore we are not afraid to state that the town's historical buildings primarily must have a cultural function. Still, competition projects for the best plots in the town core disregard the fact that the historical core's prevailing function was the residential one. This is the very place, which can offer something above the standard level of living. Of course, the importance of historical centres must not be overestimated – they wouldn't serve only scientific purposes (research) for a restricted group of scientists. On the other hand they shouldn't be underestimated – one can't preserve them without any alteration as a reference sample for historical styles and ancient residencies that could be compared with contemporary architectural trends and way of living. They would rather stand as a "glass of clear water" without the intervention of false historians and without ideological sediments. In our opinion, one could find solutions for the problem
Cele enumerate mai sus ar trebui sã elucideze importanøa rolului calitãøii în modelarea mediului nostru urban. Nu putem fi de acord cu acei arhitecøi care militeazã pentru o dezvoltare spontanã. Dacã existã ambiøia de a transforma o zonã istoricã conform nevoilor unui centru urban, trebuie sã øinem cont ši de aceastã posibilitate. Este de asemenea important sã ne dãm seama cã organizarea unui centru istoric în primul rând este un exemplu aparte de urbanism. Dacã vom calcula suprafaøa zonei istorice protejate ši o vom compara – în termenii unui oraš european de „talie medie” – cu întreaga suprafaøã a teritoriului urbanizat, va rezulta un procentaj minim, de rândul zecimalelor. Prin urmare nu ne e teamã sã declarãm cã funcøiunea culturalã este cea mai optimã funcøiune pentru clãdirile istorice. ši totuši, proiectele concurs pentru cele mai bune parcele din zona istoricã nu øin cont de faptul cã funcøiunea de bazã a centrului pe vremuri era locuirea. Zona istorica este tocmai acel spaøiu care poate oferi ceva în plus faøã de standardul mediu de locuire. Pe de o parte, importanøa centrelor istorice nu trebuie supraestimatã – ele nu ar trebui sã serveascã doar scopuri štiinøifice (de cercetare) pentru un grup restrâns de speciališti. Pe de altã parte, ele n-ar trebui subapreciate – ele nu pot fi salvate fãrã modificãri doar ca nište exemple de referinøã pentru stilurile arhitecturale istorice ši locuinøele de odinioarã, doar pentru a fi comparate cu mišcãrile contemporane de arhitecturã ši stilul de viaøã modern. Ele mai degrabã ar avea rolul de „vlãstar” care nu a suferit în urma intervenøiilor unor falši istorici ši în care nu s-au depus sedimente ideologice.
Tusnad 2005
Baia Mare
also from outside the protected territory. Urban residential zones are living organisms with a labyrinth of relations and visible or invisible connections. For this reason architectonic and urban problems related to city-modernisation are pretty extensive. One can't manage monument protecting activities without considering a larger residential complex or the whole of the city and observing the relations and the effects. Despite of factual establishments, we are sure that with a correct managing policy for investments it is possible to protect a historical building fund. This policy has to solve first of all global residential problems. The protected territory of historical buildings has the role of mediator that brings an irreplaceable cultural message to the place. Therefore it is necessary to corporate it into the wider urban complex as an organic part of it. The rest of necessary functions for the city centre don't have to be implemented by all means in historic buildings. Only a pulsating residential function deserved by a good city transport and a high economy can create good conditions for an efficient protection of the historical town In the very moment when people will realise that the protected historical town and the administrative city centre are two different concepts – especially when one consider their potential modern residential function – the protected historical town would really fulfil its cultural role.
Tusnad 2005
Baia Mare
În opinia noastrã problema s-ar putea rezolva ši prin gãsirea ši adaptarea unor soluøii bune din afara zonei protejate. Zonele rezidenøiale urbane formeazã un organism viu ce dispune de un labirint de relaøii ši conexiuni vizibile sau invizibile. Tocmai de aceea problemele urbane ši arhitectonice legate de modernizarea orašului sunt destul de numeroase. Nimeni nu poate întreprinde activitãøi de protejare a monumentelor fãrã a considera complexul rezidenøial mai larg sau fãrã a se raporta la întregul oraš ši a observa relaøiile ši efectele. Suntem siguri cã, în ciuda obiceiurilor cotidiene, o legislaøie de management a investiøiilor corectã face posibilã protejarea fondului construit istoric. Aceastã legislaøie în primul rând ar trebui sã rezolve problemele globale de locuire. Zona protejatã a clãdirilor istorice joacã rolul mediatorului ce aduce sitului un mesaj cultural de neînlocuit. De aceea este necesarã înglobarea sa organicã în complexul urban mult mai larg. Restul funcøiunilor necesare pentru un centru civic nu trebuie implementate cu orice preø în zona istoricã. Doar o funcøiune de locuire pulsatã ce dispune de un transport în comun pus la punct ši o economie înfloritoare este capabilã de a crea condiøii optime pentru protecøia eficientã a zonei istorice. Zona istoricã protejatã îši va îndeplini cu adevãrat rolul cultural doar în momentul în care oamenii vor realiza cã zona istoricã protejatã ši\ centrul administrativ al orašului – mai ales dacã se considerã potenøialul lor pentru habitatul modern – sunt douã concepte diferite.
Calin HOINARESCU – Liana DOBRINESCU
Rehabilitation of Reprezentative Historic Buildings in the City of Ploiesti Reabilitarea clãdirilor istorice reprezentative în municipiul Ploiešti
The rehabilitation of historical monuments in the city of Ploiesti has been an intricate process, that consisted at first, for a long period, of isolated actions brought about by extreme circumstances (earthquakes, air raids), and that has reached at present a stage of normality. This latter stage implies the existence of a complex social framework: appropriate legislation, detailed inventory and record, setting – up of the qualified operational system, namely research, design, execution, inspection and supervision. It also implies, first of all, the political and social will to rehabilitate and protect the patrimony. Unfortunately political conditions, adverse to the protection of patrimony, prevented for a long time the formation of the adequate social framework whose components took shape in an aleatory succession. Compared to the other counties, Prahova county and implicitly the city of Ploiesti has gradually - and often in a semi-illegal manner – made up its operational and administrative structure due to which at present it stands out among the other counties, as it actively promotes the decentralizing of the activity concerning the rehabilitation of patrimony. A few data related to the history and town - planning evolution of the city of Ploiesti are necessary in order to illustrate the present state and the perspectives on the rehabilitation of all constructions with patrimonial value from this town. The locality is first mentioned in documents in 1503, but archaeological researches have identified piles of dwellings from 14th century that belonged to a rural settlement. The documents certify that it reached the status of a borough at the end of 16 th century, when the voyvode Michael the Brave became the owner of 1/6 of the estate of Ploiesti (owned so far by the local people in the system of collective rural ownership). Here he set up a royal borough and in its vicinity he also built the Royal Court from where he issued documents and sent letters to imperial commissaries "excuria nostra Ploiesti" on 6th and 7th of July 1598. However archaeological excavations revealed (by means of a rich material dated back in the end of 15 th century and early 16th century: coins, fragments of sumptuous garments, rings, various ornaments) the inhabitants' status of townspeople - the fact that the settlement was a borough from the very beginning of 16 th century. The date when it was raised at the rank of royal borough confirms the previously acquired status of its citizens as inhabitants of a town. Trade and handicrafts represented the main economic resources of local people, besides agricultural activities. The city of Ploiesti was situated on the crossing point of important trading routes whose role increased especially after moving the principality's capital from Targoviste to Bucharest. After 1854 and following the disappearance of Saac county, it became the capital of Prahova county and the most important urban center in this highly - urbanized county, if we consider the towns of Targsoru Vechi and Gherghita old royal boroughs, Filipestii de Targ, Campina, Urlati, Mizil and Valenii de Munte localities with an important urban development. There are no thorough studies on urban evolution of the city
Reabilitarea monumentelor istorice din municipiul Ploiešti a cunoscut un proces sinuos pornind într-o primã ši lungã etapã de la acøiuni izolate generate de regulã de situaøii de forøã majorã (cutremure, bombardamente), ajungându-se în prezent în preajma unei etape de normalitate. Aceastã ultimã etapã presupune existenøa unui cadru social complex: legislaøie adecvatã, evidenøã detaliatã, constituirea sistemului operativ calificat respectiv cercetare, proiectare, execuøie, inspecøie ši dirigentare, precum ši, în primul rând, voinøa socialã ši politicã pentru reabilitarea ši protecøia patrimoniului. Din nefericire condiøiile politice ostile protecøiei patrimoniului au împiedicat multã vreme constituirea cadrului social adecvat ale cãrei componente s-au cristalizat într-o succesiune aleatorie. Comparativ cu celelalte judeøe, Prahova ši implicit municipiul Ploiešti ši-a configurat din mers ši de multe ori în semilegalitate structura administrativã ši operativã care i-a permis ca în prezent sã se detašeze viguros ca promotor al decentralizãrii activitãøii de reabilitare a patrimoniului din rândul celorlalte judeøe ale øãrii. Câteva elemente legate de istoria ši evoluøia urbanisticã a municipiului Ploiešti sunt necesare pentru a putea ilustra stadiul actual ši perspectivele reabilitãrii fondului construit cu valoare patrimonialã din localitate. Localitatea este atestatã documentar în anul 1503, dar studiile arheologice au identificat complexe de locuinøe datând din secolul al XIV-lea care au aparøinut unei ašezãri de tip rural. Documentele atestã dobândirea statutului de târg la sfâršitul secolului al XVI-lea când domnitorul Mihai Viteazul intrã în proprietatea a 1/6 din mošia localitãøii Ploiešti (deøinutã pânã atunci de localnici în sistemul proprietãøii sãtešti colective), pe care întemeiazã un târg domnesc în vecinãtatea cãruia ridicã ši Curtea Domneascã din care emite documente în 1597 ši trimite scrisori comisarilor imperiali „ex curia nostra Ploiešti" la 6 ši 7 iulie 1598. Sãpãturile arheologice au evidenøiat însã (printr-un bogat material datat începând cu sfâršitul secolului al XV-lea ši începutul secolului al XVI-lea: monede, fragmente de vesminte luxoase, inele, podoabe diverse) statutul de orãšeni – târgoveøi ai locuitorilor încã de la începutul secolului al XVI-lea. Data la care a fost ridicat la rangul de târg domnesc confirmã statutul urban al locuitorilor dobândit anterior. Comerøul ši meštešugurile au constituit principalele resurse economice ale localnicilor alãturi de activitãøile agricole. Situat la intersecøia unor drumuri comerciale importante mai ales dupã schimbarea capitalei principatului de la Târgovište la Bucurešti, orašul Ploiešti devenit dupã 1854 capitala judeøului Prahova (dupã dispariøia judeøului Saac) ajunge cel mai important centru urban din acest judeø puternic urbanizat dacã ne gândim la orašele Tarsorul Vechi ši Gherghiøa vechi târguri domnešti, Filipeštii de Târg, Câmpina, Urlaøi, Mizil ši Valenii de Munte, localitãøi orãšenešti importante. Nu avem studii serioase privind evoluøia urbanisticã a municipiului Ploiešti. Cele mai vechi hãrøi nu coboarã sub
Tusnad 2005
Baia Mare
of Ploiesti. The oldest maps date from around 1850 (Plesoianu map). There are no earlier maps, if we don't take into consideration the locality's lay-out included on the late 18 th century Austrian map, but we can imagine the settlement's configuration, which was typical of the towns with strong trade activities and that lacked for a long time aristocratic residences. It must have been a "loose – disposed" locality, with crowded zones concentrated around market places and residential districts with houses placed in the middle of large and luxurious gardens. It is true that descriptions of travellers who visited the town of Ploiesti mention impressive medieval constructions but earthquakes, invasions, and, more recently, the implementation of the town - planning strategy destroyed these vestiges. Only two churches resisted the adversity of times, but only partially, namely "Sfintii Apostoli" (St. Apostles') Church built by voyvode Matei Basarab in mid-17th century and "Sf. Nicolae Vechi" (Old St. Nicholas) Church from the same period. Several townsmen's dwellings were also preserved, among which Hagi Prodan" House (end of 18t h century) is the best - known. After 1800 the locality underwent an intensive development. The essential town-planning feature of this type of localities is to occupy large surfaces of land even in the initial stages of building. The major network of streets incorporates in its structure large territories which in the beginning are destined for farming. As population increases farming spaces are replaced by residential areas that preserve and perpetuate the "loose – disposed", "garden-like town" character of the locality. Around market places densely-built zones are formed, more precisely zones with continuous front constructions on both sides of main streets and with a high density of spaces for trade and handicraft activities. Afterwards, the town's social evolution brought about the appearance of corresponding institutions. Headquarters of administration {the old town hall, the court of law, the garrison, Public Bathrooms) and schools ( the secondary school and "Saints Peter and Paul" Highschool ) are added to the spaces for trade and handicraft activities. There is a growing number of buildings erected in the architectural styles specific to the Western space: Romantic, Neo – Gothic, Neoclassical, Baroque. The Regionalist trend determined the appearance of Neo-Romanian style that starts to become more and more present in Ploiesti as well. With the economic boom created by the oil industry, the sofar trade - generated welfare turns to opulence, and the houses of some "slummers" are transformed into genuine urban residences, thanks to the owner's wealth and with the contribution of famous architects and contractors. Many of late 19th century buildings' façades are re- modelled in Neoclassical or Baroque style. In this period the townsmen's dwellings with traditional architecture are replaced by edifices erected in accordance to international architectural styles. At the same time, the existing churches, with their small sizes and their architecture of rural influences, are replaced by monumental buildings erected following the plans of the great architects of that period, Ioan N. Socolescu and Toma Socolescu. At the beginning of 20 th century the headquarters of some important institutions are built: the court of law, Commercial School, Central Markets, Financial Administration etc. In 1930's first Cubist buildings start to appear, while Eclectism continues to create representative edifices. Unfortunately, the earthquake, air raids and afterwards the
Tusnad 2005
Baia Mare
1850 (harta Plesoianu) dacã nu øinem cont de schema localitãøii inclusã în harta austriacã de la sfâršitul secolului al XVIII-lea, dar ne putem da seama de configuraøia ašezãrii, tipicã pentru orašele care au avut un pronunøat caracter comercial ši au fost lipsite multã vreme de prezenøa rešedinøelor nobiliare. O localitate afânatã, cu zone aglomerate în jurul pieøelor ši cartiere de locuinøe cu casele plasate în mijlocul unor grãdini întinse ši bogat plantate. Este adevãrat cã descrierile unor cãlãtori care au vizitat orašul Ploiešti menøioneazã prezenøa unor construcøii medievale impresionante dar cutremurele, nãvãlirile ši mai recent sistematizarea localitãøii au distrus aceste vestigii. Au rezistat vitregiei timpurilor doar douã biserici, ši acelea doar parøial, biserica Sfinøii Apostoli, ridicatã de domnitorul Matei Basarab la mijlocul secolului al XVII-lea ši biserica Sfântului Nicolae Vechi, de acelaši vârstã. Din locuinøele târgoveøilor au fost salvate câteva edificii printre care cea mai cunoscutã este Casa Hagi Prodan, sfâršitul secolului al XVIII-lea. Dupã 1800 localitatea se dezvoltã intensiv. Caracteristica urbanisticã majorã a acestor tipuri de localitãøi este ocuparea unor suprafeøe largi de teren chiar în etapele iniøiale de construire. Trama stradalã majorã înglobeazã în textura ei teritorii largi, la început chiar cu destinaøia agricolã. Pe mãsura ce numãrul populaøiei crešte, spaøiile agricole sunt înlocuite cu zone de locuinøe care pãstreazã ši perpetueazã caracterul afânat de „oraš grãdinã” al localitãøii. În jurul pieøelor se cristalizeazã zone dens construite, cu fronturi continui, având o densitate mare de spaøii comerciale ši meštešugãrešti. Ulterior evoluøia socialã a localitãøii a condus la edificarea localurilor instituøiilor aferente. Clãdiri ale administraøiei (primãria veche, tribunalul, sediul garnizoanei, bãile publice) ši de învãøãmânt (gimnaziul ši liceul Petru ši Pavel), se adaugã construcøiilor comerciale ši meštešugãrešti. Κi fac din ce în ce mai des apariøia edificii ridicate în stilurile arhitecturale specifice arealului occidental: Romantic, Neogotic, Neoclasic, Baroc. Curentul Regionalist a produs stilul Neoromanesc, care începe sã fie prezent din ce în ce mai des ši în habitatul ploieštean. Odatã cu explozia economica produsã de industria petrolului, bunãstarea generatã pânã atunci de comerø se transferã în opulenta, casele unor „mahalagii” devin adevãrate rešedinøe urbane la edificarea cãrora contribuie pe lângã banii proprietarului arhitecøi ši antreprenori vestiøi. Multe dintre clãdirile existente la sfâršitul secolului al XIX-lea sunt refaøadizate în stilul Neoclasic sau Baroc. În aceasta perioadã locuinøele târgoveøilor, cu arhitecturã tradiøionalã, sunt înlocuite cu edificii având aspectul datorat stilurilor de circulaøie internaøionalã. Totodatã bisericile existente, de dimensiuni modeste cu arhitecturã tributarã mediului sãtesc, sunt înlocuite de clãdiri monumentale, ridicate dupã planurile marilor arhitecøi ai timpului: Ioan N. Socolescu ši Toma Socolescu. La începutul secolului al XX-lea se ridicã sediile unor instituøii importante: clãdirea tribunalului, liceul comercial, halele centrale, administraøia financiara etc. Începând cu anii 30 ai secolului al XX-lea apar ši primele clãdiri cubiste în timp ce eclectismul continuã sã producã edificii reprezentative. Din pãcate cutremurul, bombardamentele ši ulterior sistematizarea comunistã au distrus ši deturnat sensul benefic
implementation of communist town planning strategy destroyed and distorted the positive direction that the urban evolution had had so far. Extensive demolitions have damaged the city's central zone from 1960's and until recently, and have destroyed both 80% of the centre of the town and the identity of settlement. The front buildings on both sides of main arteries have been demolished and replaced by dull, inexpressive edifices. This is the political and social background on which the movement for the protection and conservation of buildings with patrimonial value came into being and manifested itself more and more strongly. If restoration works on such buildings were executed since 1916 (when under the supervision of architect T.T. Socolescu "Hagi Prodan" House was restored in order to set up there the town's first museum of history), keeping the records of monuments and their protection were scarce until quite recently. The only legislative act that listed a few edifices which had value as monuments was the Decision of Ministers. Council no. 1160/1955. It granted protection to a very small number of buildings, and some of them had disappeared in the 1970's. Until 1982 nothing coherent was done to include the edifices with an important historical value on the List of Historical Monuments. In 1983 I started to elaborate, at the Planning and designing institute from Ploiesti, a 3-4 year study by which I identified and included on the List of Historical Monuments from Prahova county over 600 edifices, architectural complexes and reservations of architecture and over 150 archaeological sites. Those objectives were mapped, photographed, measured, described and dated. The documentation was subject of approval by Prahova county authorities, that became law for the structures of local administration and for owners. This is the turning point when the process of elaborating the record and registration of edifices with patrimonial value was actually implemented. In 1991 the National Comission of Historical Monuments, Complexes and Sites approved the List of Monuments from Prahova county, that has been recently published with minor changes in the Official Monitor. Since 1983 all listed objectives were obligatorily marked on the town planning documentation of the city of Ploiesti. On the same occasion the perimeter of first reservation of architecture in the city was approved, namely the zone including the Independence Boulevard and its surrounding streets, for which in 2002 it was elaborated a Zonal Town Planning documentation that has been recently approved. The analysis of the town's territory from the point of view of its urban evolution was made quite late, when the Historical Study of Justification,was drawn up. On this occasion there were identified and registered the specific features of the street network, of parcelling, of the way in which buildings group together to form lots, and proposals were made on establishing the reservations of architecture and archaeology, as well as the areas to be protected in the context of town - planning strategy. A thorough analysis was carried out when the Historical Study of Justification for the Zonal Town Planning Documentation of the Central Zone was elaborated. The study pointed out both the range of elements with historical value preserved so far in the area, and the huge extent of destructions as a consequence of demolitions that preceded the implementation of town planning strategy in this territory during 1960 - 1980. The study emphasized the historical value of town planning
al evoluøiei urbane de pânã atunci. Demolãrile masive care au afectat zona centralã a localitãøii începând cu anii '60 ši continuate cu energie sporitã pânã recent, au masacrat centrul localitãøii în proporøie de 80% ši au distrus identitatea ašezãrii. Fronturile arterelor importante au fost demolate construinduse în loc clãdiri anoste ši inexpresive. Acesta este cadrul social ši politic în care s-a nãscut ši s-a manifestat din ce în ce mai viguros mišcarea de protecøie ši conservare a patrimoniului construit. Dacã lucrãri de reparaøii la clãdiri cu valoare patrimonialã s-au executat începând cu anul 1916 (când sub conducerea arhitectului T.T. Socolescu a fost restauratã casa Hagi Prodan pentru a adãposti primul muzeu de istorie al orašului), evidenøa ši deci protecøia monumentelor s-a manifestat cu precaritate pânã aproape de zilele noastre. Singurul act legislativ în care figurau ši câteva edificii cu valoare de monument din Ploiešti a fost Hotãrârea Consiliului de Miništri nr. 1160/1955. în acest act normativ se bucurau de protecøie un numãr infim de clãdiri din care o parte au dispãrut în anii '70. Pânã în 1982 nu s-a întreprins nimic coerent pentru înscrierea în Lista Monumentelor Istorice a obiectivelor cu valoare istoricã importantã. Începând cu anul 1983 am elaborat în cadrul Institutului de Proiectare din Ploiešti un studiu desfãšurat pe un interval de 3-4 ani prin care am identificat ši înscris în Lista Monumentelor judeøului Prahova peste 600 de edificii, ansambluri ši rezervaøii de arhitecturã ši peste 150 de situri arheologice. Obiectivele respective au fost cartate, fotografiate, relevate, descrise ši datate. Documentaøia a fost supusa avizãrii Conducerii judeøului Prahova devenind lege pentru structurile administrative locale ši pentru deøinãtori. Acesta este momentul în care procesul de elaborare a evidenøei ši înregistrãrii edificiilor cu valoare patrimonialã din municipiul Ploiešti s-a constituit efectiv. În anul 1991 a fost aprobata de Comisia Naøionalã a Monumentelor Ansamblurilor ši Siturilor Istorice Lista Monumentelor din judeøul Prahova, care cu modificãri nesemnificative, a fost publicata recent în Monitorul Oficial. Începând cu anul 1983 în planul de sistematizare al municipiului Ploiešti au fost obligatoriu poziøionate toate obiectivele listate. Tot cu acel prilej s-a aprobat perimetrul primei rezervaøii de arhitecturã din localitate, respectiv zona aferentã Bulevardului Independenøei ši strãzilor adiacente, pentru care s-a elaborat un Plan Urbanistic Zonal în cursul anului 2002 ši aprobat recent. Analiza teritoriului localitãøii, din punct de vedere al evoluøiei urbanistice, s-a realizat relativ târziu, cu ocazia întocmirii Studiului Istoric de Fundamentare. Cu acest prilej au fost identificate ši consemnate particularitãøile tramei stradale, a parcelarului a dispunerii pe loturi a clãdirilor ši s-a propus delimitarea rezervaøiilor de arhitecturã ši arheologie precum ši a zonelor protejate urbanistic. O analizã detaliatã a fost realizatã cu ocazia întocmirii Studiului Istoric de Fundamentare pentru Planul Urbanistic Zonal al Zonei Centrale în cadrul cãruia s-a pus în evidenøã repertoriul elementelor cu valoare istoricã pãstrate pânã astãzi în zona, dar ši amploarea distrugerilor prin demolãrile care au precedat sistematizarea acestui teritoriu în perioada 1960 1980. A fost subliniatã valoarea istoricã a elementelor urbanistice definitorii (trama stradala, parcelarul, aliniamentele, edificiile
Tusnad 2005
Baia Mare
elements with a defining role (street network, parcelling, alignments, existing edifices, architectural styles, distribution of volumes, positioning), that include the reference points of local cultural landscape. After this Zonal Town Planning documentation will be decided upon and approved, the municipality of Ploiesti will have at last the prerequisits for ensuring the protection of buildings and zones with patrimonial value, taking into consideration the fact that in 2002 Law 422 on the protection of historical monuments was finally promulgated, and in 2004 the framework and content of documentations for areas protected from the point of view of town planning strategies. It took more than a quarter of a century to set up the legal framework and the town planning context necessary to rehabilitate the historical monuments from the city of Ploiesti. We ought to mention the process of educating the administrative and political will in this respect. In the beginning of 20 th century the activity of architects Alexandru Zagoritz and T.T. Socolescu from Ploiesti had an essential educational impact on the local administration with regard to the importance of protecting and valorizing the monuments (see the example of "Hagi Prodan" House). Afterwards, since 1940's, an important role was played by The Monograph of the City of Ploiesti edited by N. Sevastos, that described in detail and in an outstanding professional manner aspects concerning the monuments and the town planning characteristics of the city. In 1960 the exemplary activity of professor Nicolae Simache resulted in setting up the present day Museum of History and Archaeology, Museum of Art, Clock Museum, "I. L. Caragiale" Memorial Museum, Hagi Prodan House, and these efforts implied the execution of first repair and modifying works of these buildings: the Secondary School built by Alexandru Orascu in 1873 that became the Museum of History, Ionescu Quintus House where the Museum of Art was located, Luca Elefterescu house that became the Clock Museum, Dobrescu House that was arranged to become the museum of writer I.L. Caragiale and Hagi Prodan house arranged as the Museum of the city of Ploiesti. The remarkable activity of professor Nicolae Simache was supported by the technical assistance and supervision of architect Violeta Cherulescu who worked in the central and local administration. In 1977 when the Department of Historical Monuments was dissolved by the communist regime, I took over the scientific and technical administration of historical monuments under the supervision of academician professor architect Mr. Grigore Ionescu, a native of Prahova county. The 1977 earthquake caused destructions to many monuments in the county, to headquarters of cultural institutions (museums, libraries, memorial houses) etc. The county administration financed all repair works to eliminate the damages caused by eartquakes: in Ploiesti: the Museum of History, the Museum of Art, Hagi Prodan House, the Clock Museum, in Campina: "Iulia Hasdeu" castle (the house of painter Nicolae Grigorescu), in Valenii de Munte: Nicolae Iorga architectural complex (museum - house, annex buildings, school of missionary girls), the house of painter N. Tonitza. All these buildings had been previously repaired and transformed in museums, but the interventions had been superficial and the eartquake actually destroyed the edifices. The actual restoration works have been carried out during several years, often with interruptions generated by financial causes, but no site has been ever abandoned, as it is frequently the case with the sites financed by the Ministry of Culture and
Tusnad 2005
Baia Mare
existente, stilurile arhitecturale, modularea volumetricã, amplasarea, care înglobeazã reperele peisajului cultural local). Dupã avizarea ši aprobarea acestui Plan Urbanistic Zonal, municipiul Ploiešti va avea în sfâršit create premizele protecøiei patrimoniului construit, øinând cont de faptul ca în anul 2002 a fost promulgatã, în sfâršit, Legea 422 a protecøiei monumentelor istorice iar în anul 2004 cadrul conøinut al documentaøiilor pentru zonele protejate urbanistic. A trebuit mai bine de un sfert de secol pentru a se definitiva cadrul legal ši contextul urbanistic al reabilitãrii monumentelor istorice din municipiul Ploiešti. Se cuvine sã amintim ši de procesul de educare a voinøei administrative ši politice în acest sens. La începutul secolului al XX-lea activitatea arhitecøilor din Ploiešti Alexandru Zagoritz ši T. T. Socolescu a educat conducerea administraøiei locale în sensul protecøiei ši punerii în valoare a monumentelor (vezi exp. Casei Hagi Prodan). Ulterior începând cu anii 1940 un rol important în acest sens l-a avut ši editarea de cãtre N. Sevastos a Monografiei Municipiului Ploiešti care a prezentat amãnunøit ši la un nivel profesional de excepøie aspecte legate de monumentele ši de urbanismul localitãøii. În anul 1960 activitatea exemplara a profesorului Nicolae Simache a dus la înfiinøarea actualului Muzeu de Istorie ši Arheologie, a Muzeului De Arta, a Muzeului Ceasului ši a Muzeului scriitorului I. L. Caragiale, a Muzeului Hagi Prodan, demersuri care au implicat ši executarea primelor lucrãri de reparaøii ši amenajarea clãdirilor respective: clãdirea Gimnaziului arh. Alexandru Orascu 1873 amenajat ca Muzeu de Istorie, casa Ionescu Quintus amenajatã ca Muzeu de Artã, casa Luca Elefterescu amenajat ca Muzeu al Ceasului, casa Dobrescu amenajat ca Muzeu al scriitorului I. L. Caragiale ši casa Hagi Prodan amenajatã ca Muzeu al orašului Ploiešti. Activitatea prestigioasã a profesorului Nicolae Simache a fost dublatã din punct de vedere tehnic de îndrumarea arhitectei Violeta Cherulescu care a lucrat în administraøia localã ši centralã. În 1977, când Direcøia Monumentelor Istorice a fost desfiinøatã de regimul comunist, am preluat administraøia štiinøificã ši tehnicã a monumentelor istorice sub îndrumarea domnului academician profesor arhitect Grigore Ionescu, prahovean de origine. Cutremurul din 1977 a afectat o buna parte din monumentele judeøului, sedii ale unor instituøii de culturã (muzee, biblioteci, case memoriale) etc. Conducerea judeøului a finanøat toate lucrãrile de reparare a distrugerilor produse de cutremur: în Ploiešti Muzeul de Istorie, Muzeul De Arta, Casa Hagi Prodan, Muzeul Ceasului în Campina: Castelul Iulia Hašdeu (casa pictorului Nicolae Grigorescu) din Valenii de Munte: ansamblul Nicolae Iorga (casa muzeu, clãdirile anexã, šcoala de misionare), casa pictorului N. Tonitza. Toate aceste clãdiri fuseserã anterior reparate ši amenajate ca muzee dar intervenøiile fuseserã superficiale ši edificiile au fost practic distruse de cutremur. Lucrãrile de restaurare propriu-zise s-au desfãšurat pe parcursul a multor ani, deseori cu sincope generate de cauze financiare, dar nu a existat nici un caz de abandonarea vreunui šantier, situaøie care din nefericire este foarte frecventã în cazul šantierelor finanøate de Ministerul Culturii ši Cultelor. Au fost executate lucrãri de reparaøii locale la marile
Cults. Works consisting of local repairs were executed to all big important edifices in Ploiesti that had been seiously damaged by1977 eartquake: Palace of Culture, "I.L.Caragiale" Highschool, Central Markets, Monument of Heroes, St. Friday's Church, interventions financed through county and local funds. The edifices that underwent substantial restoration and consolidation interventions were not significantly damaged by the eartquakes from 1986 and 1990. However the other buildings which were subject only to local repairs, former damages re-appeared and dangerous deteriorations occurred. Following the 1977 eartquake, extensive consolidation works were executed at the building of Central Markets and as a result it showed a better resistence to subsequent seisms. Complex and detailed interventions became necessary for the buildings at which ordinary repairing works had been executed. The first edifice of this kind was "I. L. Caragiale" Highschool (former Commercial School) erected in 1930's after the plans of architect T.T. Socolescu., with a surface of over 15 000 m2, with big problems at the structural strength, with significant deteriorations of the roof and closing elements and extensive damages of outside coatings that are made of artificial stone. A further difficulty was the fact that the highschool could not be closed and the courses interrupted for the 3-year period of works. This category of works carried on without interrupting the activity are much more complicated than those executed after the building is entirely cleared. Consequently phasing is necessary according to the specificity of works and according to the activity schedule of users, and it is also necessary to execute some partitioning screens and to adapt in each phase the route of water supply and electrical networks, thus ensuring a normal functioning of that institution. These specific details considerably complicate the process of designing and execution and increase the prices in comparizon with the usual ones, and that is why appropriate regulations are necessary for such cases. A similar ample intervention is beeing carried on at present at the Palace of Culture from the city, erected in 1920's - 1930's after the plans of architects Al. Donaud and T.T. Socolescu. The building was damaged by the eartquakes from 1940 and 1977. The latter one caused massive destructions and partial cavings. The repair and partial reconstruction works restored this objective back to its initial functional state, whose importance consists in its being the location of cultural institutions of vital importance for the city and county ("Nicolae Iorga" Municipal Library, the Museum of Natural Saciences, the Popular School of Art), as well as the Appeal Court. However, these works could not ensure the necessary resistance to seisms, so that following the earthquakes from 1986 and 1990 deteriorations re-occurred and worsened, the danger of crumbling impending. The roof and stone imitation outside coatings with their expressive decorative elements of neo-classical origin are seriously deteriorated. It has been discussed with the county administration the possibility to start ample works of restoration and consolidation that acording to preliminary estimates amount to 3 500 000 EUR. The designer's proposal was taken into consideration, namely that it is necessary to preserve and restore this edifice with a total surface of 19 000 m2 and which, together with the building of Central Markets, is the symbol of the city of Ploiesti. Engineer Sandor Zoltan, the structure expert of the restoration team from Prahova county, imagined a solution of consolidation to avoid the dividing of this 60 x 80 m – edifice in sections through anti – seismic joints, that would have
edificii din Ploiešti care suferiserã avarii grave la cutremurul din 1977: Palatul Culturii, liceul I. L. Caragiale, Halele Centrale, Monumentul Eroilor, Biserica Sf. Vineri, intervenøii finanøate din fondurile judeøene ši locale. În timp ce la edificiile la care s-au executat intervenøii consistente de restaurare ši consolidare cutremurele din 1986 ši 1990 nu au produs avarii sesizabile în cazul celorlalte clãdiri la care intervenøiile se limitaserã la remedieri locale s-au redeschis avarii vechi ši au apãrut degradãri periculoase. La clãdirea Halelor Centrale unde lucrãrile de consolidare dupã cutremurul din 1977 au fost de mare anvergurã, seismele ulterioare au fost suportate mai bine. A apãrut necesitatea unor intervenøii complexe ši amãnunøite la clãdirile la care fuseserã realizate lucrãri de reparaøii obišnuite. Primul edificiu de acest gen a fost ansamblul liceului I. L. Caragiale (fosta šcoalã Comercialã) ridicat în anii 1930 dupã planurile arhitectului T.T. Socolescu, cu o suprafaøã de peste 15 000 mp, cu probleme grave la structura de rezistenøã, cu degradãri consistente ale acoperišului ši închiderilor ši cu distrugerea avansatã a tencuielilor exterioare din piatrã artificialã. Lucrãrile au fost complicate de faptul cã liceul nu a putut fi închis ši cursurile nu s-au putut întrerupe pe toatã durata de trei ani a lucrãrilor. Aceastã categorie de lucrãri care se desfãšoarã fãrã întreruperea funcøionãrii sunt mult mai complicate decât cele care se executã dupã ce clãdirea a fost golitã în totalitate. Este necesarã etapizarea lucrãrilor în funcøie de specificul lor ši de programul de activitate al utilizatorilor, precum ši executarea unor paravane de compartimentare ši adaptarea succesivã a traseelor reøelelor asigurându-se în acest fel o funcøionare sigurã ši normalã a instituøiei respective. Aceste particularitãøi complicã mult procesul de proiectare ši execuøie ši ridicã preøurile comparativ cu cele uzuale, fiind necesare reglementãri adecvate pentru asemenea cazuri. O intervenøie similarã de mare amploare se desfãšoarã în prezent având ca obiectiv clãdirea Palatului Culturii din localitate ridicat în anii 20-30 ai secolului al XX-lea dupã planurile arhitecøilor Al. Donaud ši T.T. Socolescu. Clãdirea a avut de suferit de pe urma cutremurelor din 1940 ši 1977. Acest ultim seism a produs distrugeri masive ši prãbuširi parøiale. Lucrãrile de remediere ši reconstrucøie parøialã au repus în funcøiune acest important obiectiv care adãpostešte instituøii de culturã de importanøã vitalã pentru localitate ši judeø (Biblioteca Municipala Nicolae Iorga, Muzeul de štiinøele Naturii, šcoala Popularã de Artã), precum ši Curtea de Apel, dar nu au putut asigura rezistenøa antiseismicã necesarã, astfel ca dupã cutremurele din 1986 ši 1990 au reapãrut ši s-au accentuat degradãrile, pericolul de prãbušire fiind iminent. Acoperišul ši tencuielile exterioare din similipiatrã cu o modenaturã expresivã de sorginte neoclasicã au ajuns la un coeficient ridicat de degradare. S-a discutat la nivelul Conducerii Judeøului Prahova eventualitatea începerii unor lucrãri de restaurare ši consolidare de mare anvergura care conform estimãrilor preliminare se ridicã în jurul sumei de 3 500 000 de Euro. S-a øinut cont de propunerea proiectantului care a susøinut necesitatea salvãrii ši restaurãrii acestui edificiu cu o suprafaøã desfãšurata de circa 19 000 mp ši care este alãturi de clãdirea Halelor Centrale emblema municipiului Ploiešti. Inginerul Sandor Zoltan, structuristul echipei de restauratori din Prahova a imaginat o soluøie de consolidare
Tusnad 2005
Baia Mare
considerably modified both the way in which space is divided and organized, and the inside decoration, and would have altered the configuration of façades. This solution of consolidation proposes a series of "spacial tubes" and robust vertical elements placed inside the masonry blocks, so that the geometry of partition is not changed. These vertical elements have been incorporated within the volume of roof framing by means of a rigid girder network, thus resulting a spacial structure that shall ensure the resistance to seisms of the entire edifice. In the zones where it was not possible to place structural parts made of concrete steel due to the presence of moulding and panellings, it was chosen the method of positioning some tension rods placed in drilled oriffices. There have been again problems due to the fact these ample restauration works are executed in a building that cannot be cleared, only this time they have been aggravated by the lack of legal provisions or norms that would regulate such cases. The elaboration of preliminary documentation could not anticipate all situations that occured during the execution of works, and which were complicated by the less adequate interventions performed prior to the eartquakes (from 1940 and 1977), and thus it was even tougher to surpass the diffficulties encountered. This state of facts forced the restoration team to continuously adapt the initial documentation to to the actual situation. This situation was anticipated when the expence estimate was drawn up, and the technical assistance was allocated a sum of money sufficient to cover the designing costs necessary to adapt the general solution to actual cases that occurred during execution and could not be anticipated. Afterwards the designer was denied the sum for technical assistance included in the summarized estimate, on the grounds that it does not comply to the system of public purchases and tariffs, but this system cannot apply to documentations for restoration works. As a matter of fact, it should exist regulations and unitary tariffs valid on the international (European) level and designing stages appropriate to restoration works that allow re-assessment of costs during execution. Where documentation is elaborated with the buildings in activity occcupied by staff and furniture, when the samplecollecting process – often carried on through destructive procedures – is limited, it is natural to elaborate template documentations that during the execution of works will be detailed and adapted to identified particular cases. We hope that this will happen some day, maybe starting with this session that can represent a beginning by assemblying an international team of specialists, and thus initiating this process. Channelling financial resources from different directions for the restoration of monuments has been a constant preoccupation for the specialists in Prahova county. The church's funds have been successfully used to restore several churches from Ploiesti: "sf. Apostoli Petru si Pavel" (St. Apostles Peter and Paul) Church built around 1650, "Sf. Nicolae Vechi" (Old St. Nicholas) Church (mid-17th century), the belfry of "Sf. Gheorghe Vechi (Old St. George) Church (end of 17th century). The restoration and consolidation of "Sf. Vineri" (St. Friday) Church built in 1880 underwent the same process as the great majority of big size edifices in the Ploiesti. Erected after the plans of architect Ioan N. Socolescu was seriously damaged as a consequence of 1977 earthquake, when the northern apse and small spires crumbled and the rest of the building was damaged at a great extent. Immediately after the earthquake reconstruction
Tusnad 2005
Baia Mare
care sã evite împãrøirea acestui edificiu de 60X80 m, în tronsoane prin rosturi antiseismice, fapt care ar fi modificat substanøial compartimentarea ši decoraøia interioarã ši ar fi alterat configuraøia faøadelor. Au fost prevãzute o serie de „tuburi spaøiale” ši elemente verticale, robuste plasate în interiorul masivelor de zidãrie, astfel încât sã nu se modifice geometria partiului. Aceste elemente verticale au fost solidarizate în volumul šarpantei printr-o reøea rigidã de grinzi rezultând o structurã spaøialã care va asigura rezistenøa antiseismicã a întregului edificiu. În zonele unde nu s-a putut plasa elemente din beton armat datoritã prezenøei stucaturii ši a lambriurilor s-a optat pentru metoda dispunerii unor tiranøi plasaøi în lacase forate. Au fost prevãzute lucrãri de restaurare a faøadelor ši a ornamentelor interioare. Problemele legate de executarea unor lucrãri de restaurare de mare anvergura în condiøiile în care clãdirea nu poate fi golitã ši evacuatã au reapãrut în acest caz dar acutizate ši de lipsa unor prevederi legale sau a unor norme care sã reglementeze asemenea situaøii. Elaborarea documentaøiei preliminare nu a putut prevedea toate situaøiile care au apãrut pe parcursul execuøiei, amplificate ši de intervenøiile puøin inspirate anterioare cutremurelor (din 1940 ši 1977) care au accentuat dificultãøile de execuøie greu de depãšit ši în condiøii normale. Aceasta stare de lucruri a obligat echipa de proiectare sã adapteze continuu documentaøia iniøialã la situaøia concretã. Aceastã situaøie a fost anticipatã cu prilejul întocmirii devizului când s-a introdus pentru asistenøa tehnicã o sumã care sã asigure cheltuielile de proiectare necesare adaptãrii soluøiei generale la cazurile concrete apãrute în timpul execuøiei ši imposibil de prevãzut. Ulterior a fost refuzatã proiectantului suma inclusã în devizul general pentru asistenøa tehnicã, motivându-se acest refuz prin sistemul tarifelor ši a achiziøiilor publice care nu au nici o relevanøã în cazul documentaøiilor de restaurare. În mod normal ar trebui sã existe reglementãri ši tarife unitare cu valabilitate internaøionalã (europeanã) ši faze de proiectare adecvate lucrãrilor de restaurare care sã permitã reevaluarea costurilor pe parcursul execuøiei. În situaøia în care documentaøia se elaboreazã cu clãdirile aflate în funcøionare, ocupate de personal ši mobilier, când procurarea probelor de multe ori prin procedee distructive este limitatã, este firesc sã fie elaborate documentaøii cadru care pe parcursul executãrii lucrãrilor sã fie detaliatã ši adaptatã cazurilor concrete identificate. Sperãm ca acest lucru sã se întâmple cândva poate începând cu aceastã sesiune care sã constituie un preludiu prin alcãtuirea unei echipe internaøionale de speciališti declanšându-se acest proces. Polarizarea resurselor financiare din mai multe direcøii pentru restaurarea monumentelor a fost o preocupare permanentã a specialištilor din judeøul Prahova. Fondurile bisericii au fost folosite cu succes la restaurarea unor biserici din Ploiešti: biserica Sf. Apostoli Petru ši Pavel circa 1650, biserica Sf. Nicolae Vechi mijlocul secolului al XVII-lea, Turnul clopotniøa al bisericii Sf. Gheorghe Vechi sfr. Secolului al XVIII-lea. Restaurarea ši consolidarea bisericii Sf. Vineri datând din anul 1880 a cunoscut acelaši proces ca cele mai multe din clãdirile de mari dimensiuni din municipiul Ploiešti. Ridicatã dupã planurile arh. Ioan N. Socolescu a suferit serioase avarii
works and local rennovations were carried out, but they proved to be insufficient. The eartquakes from 1986 and 1990 caused destructions and dislocations that threatened the stability of the edifice. A complex documentation was elaborated, which proposed works that could both ensure the building's resistance to seisms and restore its lost expressive characteristics. Mr. Engineer Sandor Zoltan imagined a spacial structure that includes the structural parts for the consolidation of the seriously damaged vaulting. The works were fulfilled gradually, in stages, without closing the church. The consolidation of walls and vaulting was completed, the small spires were re-built using the existing photographic documentation and at present the big spires is being consolidated, as its wood structure was seriously damaged as well. In this case, too the gradual execution without closing the church caused major difficulties for the designing team which had to elaborate solutions depending on the situation encountered on the site and whose costs are hard to negociate. Lately, after adding valuable edifices on the List of Monuments from Ploiesti there appeared the first cases when private funds sustained restoration works. Until 1989 one single such case is known, of a building restored with private financial resources. It is the case of dr. Jean Popescu's house from Ploiesti, Decebal street; the owner restored the building's façades and inside decoration. This was possible also due to the fact that this construction was included on the List of Monuments from the city. There are also recent works of restoration executed with private funds, such as the consolidation, re - modelling of inside decoration and restoration of façades of the building where "Bulevard" restaurant is located and which is placed in the reservation of architecture of Independence Boulevard, as well as of the edifice on no. 1 Bobalna street, within the same zone. After being taken back into possession by their owners, these edifices have been taken on lease by some contractors who restored them and turned them into small pensions. A similar case is that of restoring and setting up of a mini-hotel on no. 9 Maramures street, as well as the the process of valorizing a building that has spectacular vaulted cellars, on Sitarului street. In all cases, if the respective objectives had not been included on the List of Historical Monuments, it would have been possible that the works would have altered the volumetry, planimetry, architectural expressivity and decorative elements of these edifices. The use of private funds to restore the monuments would be much more efficient, if facilities for investors were indeed operatively created. At present, consolidation works are planned to start at the building of Clock Museum that is also located in the zone of Independence Boulevard reservation of architecture, and the funds are provided by Prahova County Council through the Museum of History and Archaeology, the building's owner. Recently, it has been initiated the elaboration of a complex program for the restoration of historical monuments from the county coordinated and partially financed by Prahova County Council, that includes important edifices (for example Cantacuzino's mansions from Filipestii de Targ, Filipestii de Padure and Floresti), and other objectives as well, and in this way our substantial activity continues, in order to ensure the protection of buildings with patrimonial value from Prahova and the city of Ploiesti
în urma seismului din 1977, când absida de nord ši turlele mici s-au prãbušit, iar restul clãdirii a fost grav avariat. Imediat dupã cutremur au fost executate lucrãri de reconstrucøie ši remedieri locale care s-au dovedit insuficiente. Cutremurele din 1986 ši 1990 au produs distrugeri ši dislocãri care ameninøau stabilitatea edificiului. A fost elaboratã o documentaøie complexa care prevedea lucrãri capabile sã asigure rezistenøa antiseismicã ši sã redea edificiului valenøele plastice pierdute. Domnul ing. Sandor Zoltan a imaginat o structurã spaøialã care sã includã ši elementele pentru consolidarea boltirii grav avariatã. Lucrãrile s-au executat etapizat, fãrã scoaterea din funcøiune a bisericii. Au fost finalizate lucrãrile pentru consolidarea zidurilor ši boløilor, s-au refãcut turlele mici pe baza documentaøiei fotografice existente ši se lucreazã în prezent la consolidarea turlei mari, a cãrei structurã din lemn a fost grav avariatã. Ši în acest caz executarea lucrãrilor în etape fãrã a se opri funcøionarea bisericii a produs dificultãøi majore echipei de proiectare care a trebuit sã elaboreze soluøii în funcøie de situaøia concretã pe šantier ale cãror costuri sunt negociate cu dificultate. În ultima perioadã dupã complectarea Listei Monumentelor din municipiul Ploiešti cu edificii valoroase au apãrut ši primele cazuri când fondurile private au susøinut lucrãri de restaurare. Pânã în anul 1989 în Ploiešti este cunoscut un singur caz de clãdire restauratã cu fonduri private. Este cazul locuinøei domnului dr. Jean Popescu din Ploiešti, str. Decebal care a restaurat faøadele ši decoraøia interioarã a clãdirii. Acest lucru a fost posibil ši datoritã înscrierii în Lista Monumentelor din municipiu a acestei construcøii. Recent lucrãri de restaurare realizate cu fonduri private pot fi exemplificate prin consolidarea, refacerea decoraøiei interioare ši restaurarea faøadelor clãdirii restaurantului Bulevard din cadrul rezervaøiei de arhitecturã Bulevardului Independenøei precum ši a clãdirii din aceeaši zonã de pe str. Bobâlna nr.1. Aceste edificii, dupã redobândirea lor de cãtre proprietari au fost concesionate unor agenøi economici care le-au restaurat ši refuncøionalizat ca micropensiuni. Un caz similar este ši cel al restaurãrii ši amenajãrii unui microhotel pe str. Maramures nr. 9, precum ši punerea în valoare a unei clãdiri cu pivniøe boltite spectaculoase pe str. Sitarului. În toate situaøiile, dacã obiectivele respective nu ar fi fost înscrise în Lista Monumentelor Istorice, ar fi existat posibilitatea ca lucrãrile sã fi afectat volumetria, planimetria, plastica arhitecturalã ši elementele decorative ale acestor edificii. Eficienøa demersului de utilizare a fondurilor private pentru restaurarea monumentelor ar fi mult mai sporitã dacã s-ar crea efectiv ši operativ facilitãøi investitorilor. În prezent se preconizeazã începerea lucrãrilor de consolidare la clãdirea Muzeului Ceasului situat tot în zona rezervaøiei de arhitecturã Bulevardul Independenøei, fondurile fiind asigurate de Consiliul Judeøean Prahova prin Muzeul de Istorie ši Arheologie, deøinãtorul clãdirii. De curând s-a iniøiat elaborarea unui program complex de restaurare a monumentelor istorice din judeø, coordonat ši finanøat parøial de Consiliul Judeøean Prahova, care sã includã edificii importante (exp. conacele Cantacuzine din Filipestii De Târg, Filipeštii de Pãdure ši Florešti) precum ši alte obiective, urmãrindu-se astfel continuarea viguroasã a activitãøii în vederea asigurãrii protecøiei fondului construit valoros din Prahova ši din municipiul Ploiešti.
Tusnad 2005
Baia Mare
THOMA Emoke — DELY György
Rehabilitating the Historic Centre of Eger, Block Rehabilitation Approaches and their Durability Eger történelmi városközpontjának rehabilitációja Tömb rehabilitáció – elképzelések és tartósságuk Situated in North-Eastern Hungary, in a hilly region, the town of Eger was founded by king Saint Stephan I. in 1000 AC. Although its structure developed in the middle ages, the town can be considered a baroque one, since most of its historic buildings were built in this style.
Eger Magyarország északkeleti részén, dombos vidéken fekszik. I. Szent István alapította a várost 1000-ben. A belváros legtöbb épülete és mûemléke barokk stílusban épült, így kijelenthetjük, hogy Eger barokk város, bár alapvetôen a város szerkezete a középkorban alakult ki.
The historic centre of Eger survived the destructions of wars and the urbanization drive, still being close to the way it looked centuries ago. The time-worn buildings however needed urgent conservation. Thus at the end of the sixties, the rehabilitation of the historic core started. In Hungary, Eger was the first town where not only single buildings and streets, but whole blocks of buildings were rehabilitated.
A háborúk pusztítása és az urbanizáció ellenére sikerült megôrizni Eger történelmi városközpontját, így napjainkban is sokban hasonlít az évszázadokkal ezelôttire. Az idô pusztítása miatt azonban nem tûrt halasztást az épületek felújítása. Így az 1960-as évek végén megkezdôdött a történelmi városrész rehabilitációja. Eger volt az elsô város Magyarországon, ahol a rehabilitáció nemcsak önálló épületeket vagy utcákat érintett, hanem egész épületegyütteseket.
This presentation analyses this first, already historic block rehabilitation stage, and then it overviews the later approaches. In the late sixties, when block rehabilitation was begun, the historic centre possessed the following features: – A street structure inherited from the middle ages and developed in the baroque period; a thick, but local building in (lots are not very wide, and the two- or three-storied buildings are developed in unbroken rows.) – A mostly 18th century building stock. The late 19thearly 20th century boost did not touch the town, the war brought little destruction, and the town's development was deliberately hampered until the beginning of the sixties. The building stock mostly consisted of dwellings in almost exclusively state ownership, and in a moral and physical state of decay. – In 1951 a survey of the historic buildings and of the townscape was completed (with 145 listed buildings). In 1955 a simplified general development plan was drawn up. However, the route of the main highway bypassing the centre was not established, and therefore a detailed
Elôadásunkban egyrészt ennek a ma már történelemnek tekinthetô elsô tömbrekonstrukciós szakasznak az elemzésére, másrészt pedig a késôbbi idôk törekvéseinek bemutatására vállalkozunk. Adottságok, sajátosságok Eger belvárosában a 60-as évek végén, a tömbrekonstrukció kezdetekor – Középkorból örökölt, barokk stílusban kiépült utcarendszer, sûrû, de lokális beépítés (a telkek nem túl szélesek, a beépítés zártsorú, földszintes, F + 1, esetenként F + 2 szintes), a tömbbelsôk melléképületekkel fokozatosan, szabályszerûen beépültek. A városmag a város geometriája, földrajzi helyzete miatt mindig is központ maradt. – Jórészt XVIII. századi épületállomány. A várost a XIX. század végi és XX. század eleji fellendülés elkerülte, a háború kevés pusztítást okozott, a 60-as évek elejéig, közepéig tudatosan megakadályozták fejlôdését. Az épületállomány legnagyobb része lakóépület, erkölcsileg, fizikailag avult és csaknem kizárólag állami tulajdonban van. – 1951-ben megtörtént a város mûemléki és városképi vizsgálata
Tusnad 2005
Baia Mare
development plan was not completed. In 1967, along with 13 more Hungarian cities, the whole inner city was declared a protected historic area. – With the construction of several new buildings, the town acquired some experience in constructing in an extant, valuable environment, even if sometimes this meant the destruction of important values (like the construction of the theatre and school nr. 4.) From the late 60's, four building ensembles were rehabilitated in blocks, in the order presented by the plans. In line with the contemporary approach, the front elevations were restored and modernized, or in cases demolished and rebuilt, while the inner parts were demolished and replaced by public spaces: parks, shops, playgrounds.
Tusnad 2005
Baia Mare
(145 db védett épülettel), 1955-ben elkészült az egyszerûsített Általános rendezési terv. A központot elkerülô fôút nyomvonalát azonban nem tisztázták, ezért direkt a belvárosra részletes rendezési terv nem készült. 1967-ben a belváros – 13 magyar várossal együtt – mûemlékileg védett lett. Néhány új épület megépítésével a város némi gyakorlatra tett szert meglévô, értékes környezetben való építésre, még ha ez néha jelentôs értékek elpusztítását is jelentette (pl. a Színház, a IV-es Iskola). Klasszikus tömbrehabilitációnak nevezhetôen a 60-as évek végétôl négy épületegyüttest helyreállítottak a terveken látható sorrendben. Az akkori koncepció szerint az épületek utcai részét renoválták és modernizálták, esetleg bontás után újakat építettek, a belsô részeket pedig lebontották. A helyükre közterületként parkok, üzletek, játszóterek kerültek.
BLOCKS REHABILITATED:
MEGVALÓSULT TÖMBÖK
1. The Bajcsy-Zsilinszky street - Széchenyi street – Marx K. street (today Érsek street) – Dobó square block
1. Bajcsy-Zsilinszky u. – Széchenyi u. – Marx K. u. (ma Érsek utca) – Dobó tér tömbje.
– The block consisted of 12 old buildings (including 4 listed ones), 3 modified and 5 new ones. The block's interior was completely demolished. In other areas, the demolition ratio was 14%. The new functions created were: dwellings, services, green area in the interior. – The new buildings can be said to be of uneven architectural quality (prominent among them being the BajcsyZs. Street nr. 5-7 by János Sedlmayer, Ágnes Komáromi) This is especially true of the flat-roofed house constructed in the interior of the block without taking into consideration the original fabric, placed contingently, without attention to proportions, and which, with the 11 open gateways, also hiders traffic. The architecture of the internal elevations was also disregarded, the inexistent internal views being contingent, unclear.
– A tömb 12 db régi (ebbôl 4 védett), 3 db átalakított, 5 db új épületet tartalmazott. A tömbbelsôt teljesen kibontották. Ezen kívül a bontási arány 14%. Funkció: lakóépületek, üzletek, szolgáltatások; a tömbbelsô részben zöldterület. – Megállapítható, hogy az új épületek egyenetlen építészeti színvonalúak (kiemelhetô a Bajcsy-Zs. u. 5-7. – Sedlmayer János, Komáromi Ágnes), különösen érvényes ez a tömbbelsôbe épült lapostetôs házra, mely ráadásul az eredeti szövetszerkezet figyelembevétele nélkül, esetlegesen telepített, léptéktelen, és így a 11 megnyitott kapualjjal együtt a közlekedést is bizonytalanná teszi. A belsô homlokzatok architektúrájára nem fordítottak figyelmet, a sosem volt belsô nézetek bizonytalanok, esetlegesek.
2. The Marx K. street (today Érsek street) - Széchenyi street Alkotmány street - Dobó square block
2. Marx K. u (ma Érsek utca) – Széchenyi u. – Alkotmány u. – Dobó tér tömbje
Tusnad 2005
Baia Mare
– The block contains 9 old buildings (including 3 listed ones), 3 newly storied, 2 modified and 4 new houses. The interior was completely demolished. In other areas, the demolition ratio was 28%. Functions: dwellings, shops, services, green area in the interior. – The new buildings are unpretentious even according to the standards of their times. None of the houses possesses a garden. The interior of the block is completely empty, largely unexploited, with its size being larger than that of Dobó square! The facades of the cornering wings are contingent here as well.
– A tömb 9 db régi épületet (ebbôl 3 védett), 3 emeletráépítéses, 2 átalakított és 4 db új házat tartalmaz. A tömbbelsô teljesen kibontott, ezen kívül a bontási arány 28%. Funkció: lakások, üzletek, szolgáltatások, a tömbbelsô zöldterület.
3. The Alkotmány street (today Szent János street) - Széchenyi street - Sándor I. street - Zalár street block
3. Alkotmány u. (ma Szent János utca) – Széchenyi u. – Sándor I. u. – Zalár u. tömbje
– The block consists of 11 old buildings (including 7 listed ones), 2 modified and 6 new ones. The interior was demolished, the demolition ratio of the frame was 37%. – The block is characterized and architecturally defined by the large ABC supermarket constructed there, obviously to avoid the unexploited nature of the previous one. This function requires heavy car and truck traffic, and parking as well as roll storing is unsolved. (This function is in fact contrary to the original plans.) The place of the internal space in the urban structure is unclear (square? street? backyard?) They tried to mend this situation by signalling the borders of the original lots (with flowers and green areas.) Note: the supermarket was since then bankrupt.
– A tömb 11 db régi (ebbôl 7 védett), 2 db átalakított és 6 db új épületet tartalmaz. A tömbbelsô kibontott, a keret bontási aránya 37%. – A tömb jellemzôje és meghatározó építészeti élménye a betelepített nagyméretû ABC Áruház, melyet nyilván az elôzô tömb kihaltságát elkerülendô építettek. A funkció sûrû személygépkocsi- és teherforgalmat igényel, a parkolás, göngyölegtárolás megoldatlan. (Ez a funkció egyébként az eredeti tervezôi elképzelésekkel ellentétes.) A belsô terület városszerkezetben elfoglalt helye bizonytalan (tér?, utca?, gazdasági udvar?). A jelen állapotokat az eredeti telekhatárok jelzésével (virágok, zöldterület) kívánták rendezni. Megjegyzés: az ABC azóta csôdbe ment.
4. The Sándor I. street - Széchenyi street - Macky V. street - Zalár street block – The block with a 67% demolition ratio and a street crossing it has ceased to exist, being replaced by a single building with dwelling and services functions, planted on the new street, and totally alien from the town. To sum up, we can state that the basic structure of the first four blocks was predefined, and the basic conception was generally correct; the quality of the execution however decayed from block to block. The organizational and directive power of the City Council seems to have decayed, and there is no noticeable general architectural conception. The new buildings
4. Sándor I. u. – Széchenyi u. – Macky V. u. – Zalár u. tömbje
Tusnad 2005
Baia Mare
– Megállapítható, hogy az új épületek korukhoz képest itt nem igényesek. Saját kerttel nem rendelkezik egyik ház sem. A tömbbelsô teljesen üres, nagyrészt kihasználatlan, a tér mérete nagyobb, mint a Dobó téré! A beforduló szárnyak homlokzatai itt is esetlegesek.
– A 67%-os bontási aránnyal és a középen átmenô új úttal a tömb megszûnt. Az új útra viszont egyetlen, a várostól teljesen idegen nagyméretû lakó-szolgáltató épületet telepítettek. Összességében megállapítható, hogy az elsô négy tömb indítása szükségszerû, az alapkoncepció összességében helyes; a megvalósítás azonban tömbrôl tömbre romlik. Megcsappanni látszik a Városi Tanács szervezô-irányító ereje, nem észlelhetô az összefogott építészeti koncepció. Az új épületek önmagukban sem túl igényesek; együttesük viszont egymástól és a barokk épületállománytól is idegen.
are substandard in themselves, and they do not fit with each other, nor with the baroque building stock. Block reconstruction as a solution is not always applicable, since we do not always have well-defined blocks. It also requires the full approval of the owners (sometimes a single owner), which seems impossible to obtain today. When our architectural company began designing the following blocks, we felt it important to build on the experience and the conclusions that can be drawn from the previously rehabilitated blocks.
In our opinion, the most important considerations in the design of buildings are the following: – Plans must respect the original urban structure, without demolishing the interiors of the blocks. The rules of development must be respected from the beginning. – We must tend towards professionalism of the design. – Due to the significant demolition ratio of the previous blocks, the extant building stock's value has risen, and thus their preservation and rehabilitation is a priority. – The newly constructed buildings must be of the highest quality. Lastly, a very important consideration is the preservation of
A tömbrekonstrukció, mint megoldás nem általánosítható, hiszen nincsenek mindenhol jól körülhatárolható tömbök, illetve szükséges a tulajdonosok (netán egyetlen tulajdonos) teljes egyetértése is, mely ma nehezen elképzelhetô. Mikor építészirodánk elkezdte a következô épületegyüttesek tervezési munkálatait, fontosnak éreztük, hogy elôször is következtetéseket vonjuk le az addig elkészült tömbök tapasztalataiból. Véleményünk szerint a legfontosabb épülettervezési szempontok a következôk:
– A tervezés során meg kell tartani az eredeti városszerkezetet, ahelyett hogy lebontanánk az épülettömbök belsô részeit. A kiindulási alap a fejlôdés törvényszerûségeinek tiszteletben tartása. – A tervezésnél a professzionalitásra kell törekedni. – Az eddigi jelentôs bontási arány miatt a meglévô épületállomány felértékelôdött, ezért megtartása, rehabilitációja alapcél. – Az új épületeknek a lehetô legjobb minôségben kell megépülniük. – A lakófunkció lehetôség szerinti megtartásával saját intim kerteket is kell biztosítani. – És végül abszolút fontos tényezô, hogy megôrizzük az
Tusnad 2005
Baia Mare
the original quality of the buildings and avoiding the use of identical methods. The first ensemble (1) rehabilitated with this philosophy in the mid-seventies was the dwelling and studio built by the architect and contractor J.B. Carlene. Today it hosts flats and shops. Architect: Péter Komáromi. This partial block, as shown by this designation, could not be considered a block even at the time of the planning of the
épületek egyedi jellegét és elkerüljük a szabványmegoldásokat. Az elsô épületegyüttes (1), melynek rehabilitációjára ezen elvek alapján került sor a 70-es évek közepén a J. B. Carlone építômester és építész által épített lakóház és mûterem volt. Ma lakások és üzletek találhatók benne. Építész: Komáromi Péter. Ez a tömbrész (mint neve is mutatja) sajnos már a tervezés idôszakában sem volt tömbként kezelhetô, mivel korábban a terület Ny-i oldalán Eger újabbkori lakásépítô technológiáját próbálták ki a
1 rehabilitation, since on the western part of the territory they were trying out the new flat construction technology of Eger at the time, constructing four or five-storey reinforced concrete ribbon buildings on lots created in one of the most exposed areas of the centre with inconsiderate reorganizations. The somewhat tragic planning task was to rehabilitate the remaining part of the block, which included one of the most valuable baroque buildings of Eger, the house of J.B. Carlene in the environment thus created. Despite the fact that the planning and execution of this rehabilitation preceded the design and construction of the 3rd and 4th blocks described above, and despite the fact that the beneficiary and the town asked for the complete demolition of the block, the planner, in close cooperation with the board for historic building conservation broke with the previous tenets and recipes. Thus, based on a concept respecting the specific features and the urban fabric, they\ constructed the first block exhibiting not only the unity of form and content, but also consisting of high quality reconstructions of extant buildings and new wings. The next ensemble (2) rehabilitated was the Small Dobó square, where rehabilitation and reconstruction proceeded from house to house. These buildings today host flats, shops, hotels and restaurants. Architects: Csaba Kiss, Attila Rátkai, József Nagy, Péter Komáromi and Emoke Thoma. Among the baroque buildings we also find a new one on the square, with small shops. Architect: Emoke Thoma. Associate designers: Péter Komáromi, Mrs. Csaba Kiss, László Fehér. The next ensemble is that of the Dobó street, running under the castle to Dózsa square (3). The street was considered as a
Tusnad 2005
Baia Mare
belváros egyik legexponáltabb helyén, átgondolatlan szanálásokkal létrehozott telkeken épült 4 és 5 szintes vasbeton sávházakkal. Az így kialakított, tragikusnak mondható környezetben megmaradt tömbrész, melyben Eger egyik legértékesebb barokk lakóépülete, J. B. Carlene építômester saját lakóháza is áll – ennek rehabilitációja volt a tervezési feladat. Annak ellenére, hogy e tömbrész tervezése és kivitelezése idôben részben megelôzte az elôzô fejezetben leírt 3. és 4. tömb tervezését és építését, és annak ellenére is, hogy a megrendelô és a város is a tömbbelsô teljes bontását akarta, a tervezô az akkori mûemléki hivatallal szorosan együttmûködve szakított a korábbi, receptként betartandó elvekkel. Így egy új, az adottságokat, a beépítési szövetszerkezetet tiszteletben tartó koncepció alapján az elsô olyan tömbrész épült fel, melyben a tartalom és a forma egysége mellett, mind a meglévô épületek rekonstrukciói, mind az új épületszárnyak magas színvonalúak. A második együttes a Kis Dobó tér (2) . Itt a rehabilitáció és az átépítés házról házra történt. Ma lakások, üzletek, szállodák és éttermek találhatók ezen épületekben. Építészek: Kiss Csaba, Rátkai Attila, Nagy József, Komáromi Péter és Thoma Emôke. A téren a barokk épületek között egy új is található, benne kis üzletekkel. Építész: Thoma Emôke. Társtervezôk: Komáromi Péter, Kiss Csabáné, Fehér László. A harmadik a Dobó utca, amely a vár alatt vezet a Dózsa térig (3). A rekonstrukció során az utcát egységként kezelték. Az utcában lakóépületek vannak, helyenként üzletekkel.
whole during the reconstruction. The street consists of dwellings and small shops. Architects: Emoke Thoma, Péter Komáromi. The next ensemble (4) is the so-called Károly Hibay block. Here we planned stores and workshops in the interior after the rehabilitation of the exterior. These replaced the partially decayed and demolished outbuildings, preserving their original structure. The original building in of lots was preserved, which is especially important in the case of this block because of the close view from the castle. Architect: Emoke Thoma. Associate designers: Judit Mácsai, László Fehér.
Építészek: Thoma Emôke, Komáromi Péter. A negyedik az úgynevezett Hibay Károly tömb (4). Itt a külsô részek rehabilitációja után terveztünk a belsô részre üzleteket és mûhelyeket. Ezeket a lerombolt, részben elpusztult melléképületek helyére építettük, megôrizve azok eredeti szerkezetét. Itt az eredeti beépítési sruktúra változatlan maradt, ami ennél a tömbnél különösen fontos, a várból való közeli rálátás miatt. Építész: Thoma Emôke. Társtervezôk: Mácsai Judit, Fehér László.
The next ensemble (5) is the one at Kossuth street nr. 5, which was modified like the previous one, preserving the original structure. Sadly characteristic of the block is the huge building of the postal phone centre, constructed in the mid-seventies with a fragrant breach of the original values, the construction of which moreover called for the demolition of three valuable buildings (one of them listed.)
A következô épületegyüttes a Kossuth Lajos utca 5., (5)\ mely az elôzôhöz hasonlóan, az eredeti szerkezetet megôrizve került átépítésre. A tömb szomorú jellegzetessége az eredeti értékrendet durván megsértô, hatalmas, a hetvenes évek közepén épült postatelefonközpont épülete, melynek építéséhez ráadásul 3 db értékes barokk ház bontására volt szükség (melybôl egy védett volt).
ARCHITECTURAL CONCEPTION
ÉPÍTÉSZETI KONCEPCIÓ
The survey and research of the Jókai-building showed that three independent buildings used to stand there. Two entrances have been identified (the location of one entrance is presumed), and one of these has been opened. This would not be possible today, when the board for historic building conservation opposes the opening of ground floors in all cases, even where there used to be gates. At that time however this was an accepted, moreover encouraged practice (conservation officer: József Kocsis.) The aim was a rehabilitiation as correct and thorough as possible. The main building on Kossuth street recalls the partitioning and certain elements of the demolished one-storey building, trying to integrate into the aspect of the main historic street of the town, but also trying to provide passage to the post via a small square.
A Jókai utcai épület feltárása, kutatása bebizonyította, hogy itt 3 db önálló épület állt, melyek közül kettônek a bejáratát egyértelmûen (egynek valószínûsíthetôen) megtaláltuk és az egyiket sikerült is megnyitni. Ez ma már a mûemléki hivatal ellenállása miatt nem lenne megvalósítható (mindenhol, ott is, ahol korábban kapuk voltak - ellenzi a földszintek megnyitását), akkor elfogadott, sôt támogatott volt (mûemléki felügyelô: Kocsis József). Cél a minél korrektebb, alaposabb rehabilitáció.
2
4
A Kossuth Lajos utcai fôépület a lebontott földszintes ház osztásrendszerét, annak egyes elemeit idézi oly módon, hogy egyrészt igyekszik az utca - mely a város mûemlék fôutcája képébe megfelelô nívón bekapcsolódni, másrészt megpróbál a Postához egy kis új terecskén keresztül átmenetet biztosítani.
3
5
Tusnad 2005
Baia Mare
Characteristic of the house is the plaster architecture common in the whole town at all times, being relatively cheap, not requiring great expertise and being repairable an any time. The new court wings follow the scale and line of the original fabric. Two closing elements signal that they cannot be prolonged towards the space occupied by the post. We can thus conclude that the inner city was mostly organized into blocks, and urban development plans have always treated them as such, therefore, if possible, executions should also take this into consideration. But we also think that there are no general recipes. Individual surveys must be carried out in all cases, quality being the only invariable. Even block reconstruction varies, since the Dobó street houses were rehabilitated as a row, like in Sopron, whereas the ensemble on the Small Dobó square had to be rehabilitated by individual houses, maintaining the fabric unchanged. From the nineties to the present several important reconstructions have been completed, even if without an overall conception (e.g. Panakoszta house - Music school, Emoke Thoma), and some smaller new buildings have been constructed (e.g. Budapest Bank - Emoke Thoma, Imola headquarters - Kálmán Hóor, Szent János Hotel - György Dely, Jókai street corner house - Emoke Thoma). Apart from these smaller buildings, two larger public ones have been constructed in the centre: the swimming bath - architect Imre Makowecz from Budapest, and the reconstructed and significantly enlarged theatre - architect Csaba Bodonyi from Miskolc. It would seem that in the historic centre of Eger the only future task is continuous maintenance, since the reconstructions of historic buildings have been completed, except for a couple of sad cases like that of the Buttler house, which is in ruins for 14 years for financial and conservation-related impediments, and there are no gaps that could be built in. This is not the case, however. Is would be necessary to develop a new, longer-term conception that would take into account considerations related to everyday life and comfort, and prevent the city from petrifying into is own past. This conception ought to do away with many interdictions used as recipes, like that on creating stores, and thus portals on ground floors, or on the building in of attic spaces, or the holding back of dwelling functions. There are numerous European examples where in the historic centres, on the mostly narrow streets there are shops on the ground floors, since these are not appropriate for dwelling functions, and where one sees during evening walks lights in the upper floors and the attic, because they host flats and not offices or public functions. To sum up, the town core must live, and always live it its own time. The whole town must clarify what it wants to live on, how it can participate in the competition of towns and regions. Eger must rely on tourism based on wine, the castle (the setting of a prominent novel by Gárdonyi), the spa and the baroque city. In this case however attention must be paid to the whole town, not only the historic centre, to the incoming roads, to the public spaces, to the quality of the green areas, respecting the laws of development of the urban fabric (Eger is a valley settlement, and it must remain one). The scales, positions, sizes and quality of new buildings are also important. We consider Eger a lovely town, pleasant to live in and visit. Please learn from our experiences, results and mistakes, and study them on the site by visiting us!
Tusnad 2005
Baia Mare
A házra jellemzô a vakolatarchitektúra, amelyet Egerben mindig és mindenhol alkalmaztak, és amely viszonylag olcsó, nem igényel túl nagy szakértelmet, bármikor javítható. Az udvari új épületszárnyak követik az eredeti szövet léptékét, vonalát. Két db lezáró elem jelzi, hogy ez a Posta által elfoglalt terület felé már nem folytatható. Megállapítható tehát, hogy mivel Eger belvárosa jórészt tömbökre rendezôdött, a mindenkori rendezési tervek is tömbönként kezelik, így, ha csak lehetséges, célszerû a megvalósítás során is tekintettel lenni erre. Azonban véleményünk szerint általános recept nem adható, mindig önálló, egyedi vizsgálat szükséges, az egyetlen állandónak a minôségnek kellene lennie. Még maga a tömbrekonstrukció sem állandó, hiszen például amíg a vár alatti Dobó utca házainak rehabilitációja még leginkább Sopronhoz hasonlíthatóan utcasorként történt, addig a Kis Dobó téri együttesnél házankénti megújításra volt szükség, a szövetszerkezet változatlan maradhatott. A 90-es évektôl napjainkig, átfogó koncepció nélkül bár, de elkészül néhány jelentôs rekonstrukció (pl. Panakoszta ház Zeneiskola, Thoma Emôke), és épült néhány kisebb új épület is (pl. Budapest Bank - Thoma Emôke, Imola székház - Hóor Kálmán, Szent János Hotel - Dely György, Jókai utcai sarokház - Thoma Emôke). Fenti kisebb épületeken kívül a belvárosban két nagyobb középület épült – az egri uszoda – Makovecz Imre budapesti építész tervei alapján, és az egri színház rekonstrukciója jelentôs bôvítéssel – Bodonyi Csaba miskolci építész munkája. Úgy tûnhet, hogy Eger történelmi belvárosában a jövôben már csak a folyamatos karbantartás a feladat, hiszen a mûemlékházak rekonstrukciói egy–két szomorú esetet kivéve (pl. Buttler ház – 14 éve áll romos állapotban - pénzügyi és mûemléki akadályoztatások miatt, vagy a pl. Tábornok ház) elkészültek, új építésre alkalmas foghíjak már nincsenek. Azonban ez nem így van. További, távolabbra tekintô koncepció kidolgozására lenne szükség, mely figyelembe veszi az élet és az élhetôség szempontjait, és megakadályozná, hogy a belváros "bemerevedjék" saját múltjába. E koncepcióban fel kellene oldani sok elôítéletszerûen használt tilalmat, mint pl. üzletek - ezért portálok kialakítása a földszinteken, vagy a tetôterek beépíthetôsége, a lakófunkciók visszaszorítása. Nagyon sok európai példát lehet felhozni, ahol mûemléki belvárosokban, a többnyire szûk utcákban a földszinteken üzletek vannak, hiszen azok lakás funkcióra nem igazán alkalmasak, ahol esti sétákon égnek a lámpák az emeleteken, vagy a tetôterekben, mert ott lakások vannak és nem irodák, illetve középületi funkciók. Tehát a városmagnak élnie kell, mégpedig mindenkor saját korában. A teljes városnak pedig tisztáznia kell, mibôl akar élni, mivel tud résztvenni a városok, régiók versenyében. Eger esetében ez az idegenforgalom, melynek alapja a bor, a vár (Gárdonyi), a gyógyvíz, a barokk város. Ez esetben azonban a mûemléki belvároson túl figyelemmel kell lenni az egész városra, a beérkezô utak, a közterületek, a közmûvek, a zöldterületek minôségére, a városi szövet fejlôdési törvényeit tiszteletben kell tartani (Eger völgyi település, annak is kellene maradnia), fontos az új épületek aránya, helyzete, mérete színvonala. Egert mindennel együtt lakható, látogatható, szerethetô városnak tartjuk, kérjük, tanuljanak tapasztalatainkból, eredményeinkbôl és hibáinkból, és minderrôl gyôzôd-jenek meg a helyszínen, látogassanak meg bennünket!
LAMPERT Rózsa
The Ganz Park A Ganz park
In 1854 Abraham Ganz (1814 Unter-Embrach, Switzerland – 1867 Pest, Hungary) opened an iron foundry in one of the houses on Korhaz Street, today Ganz Street in Buda, thus taking the first step in establishing the Ganz enterprises. At first seven workers worked at the foundry, which quickly developed into a factory. At least 300 workers were employed at the bigger foundry, which was built in 1858; today a small part of it is a museum. Due to its chilled iron railway wheels the factory became of European significance, as this invention was granted an Austrian patent. During the Hungarian War of Independence in 1848, they were engaged in casting cannons with the inscription "Do not harm the Hungarians".
A Ganz vállalatbirodalom alapjait Ganz Ábrahám svájci születésû (1814 Unter-Embrach – 1867 Pest) öntômester rakta le, miután 1845-ben Budán, a Kórház utca, ma Ganz utca egyik házában vasöntô mûhelyt nyitott. A kezdetben hét munkással dolgozó öntöde Ganz Ábrahám haláláig gyárrá fejlôdött. Az 1858-ban felépített nagy öntödében, amelynek egy kis töredéke jelenleg az Öntödei Múzeum kiállításának ad otthont, legalább 300 munkás dolgozott. Kéregöntésû vasúti kerekeinek köszönhetôen a gyár európai jelentôségre tett szert, mivel erre a találmányra osztrák szabadalmi jogot szereztek. A szabadságharc idején „Ne bántsd a magyart!” feliratú ágyúkat is öntöttek.
In 1867 Ganz died under tragic circumstances. His life's work was continued by Andras Mechwart, a mechanical engineer of German descent (1834 Schweinfurt, Germany – 1907 Budapest, Hungary), who from 1859 was Ganz's fellow worker at the foundry. In 1869 the factory was transformed into a joint enterprise under the name of Ganz and Partner Iron Foundry and
Ganz Ábrahám 1867-ben tragikus körülmények között meghalt. Életmûvét Mechwart András német származású gépészmérnök (1834 Schweinfurt – 1907 Budapest) folytatta, aki 1859-tôl munkatársa volt az öntödében. A gyár 1869-ben Ganz és Társa Vasöntöde és Gépgyár Rt. néven részvénytársasággá alakult, melynek igazgatója, majd vezérigazgatója hosszú ideig
The Foundry Museum and the cast iron spiral staircase transported from the Ganz factory
Az Öntödei Múzeum és a Ganz-gyárból odaszállított öntöttvas csigalépcsô
Machine Factory, its director and later its director-general having been Andras Mechwart for a long time. The Ganz factory became world-famous due to Andras Mechwart's invention, the corn milling rolls, that changed the Hungarian milling industry, and also due to the establishment of an Electrotechnical Department. They began to use electrotechnology in the factory in 1878. The first electricity department was opened in a shed, in the backyard of a house in Kacsa Street 18, that later developed into a factory and was moved in the building of the Kiraly mill in Fo Street 73. But this place wasn't large enough either, because Karoly Zipernovsky, Miksa Deri and Titusz Otto Blathy 's revolutionary invention, the production of transformers attracted numerous orders from abroad. That is why they bought the building sites near the distillation plant, between the Nagy and Kisrokus Streets, where in 1897 an electricity plant was constructed, that worked until the 1990s. Earlier Mechwart's own villa was standing on this site as well. After receiving the patent for the transformer (1885), power and transformer stations were installed in many cities all over the world. At the end of the 19th century, due to the owner's (General
Mechwart András volt. A Ganz gyár világhírnevét Mechwart Andrásnak a magyar malomipar hírnevét megalapozó találmánya, a kéregöntésû malomhengerszék, majd az általa létrehozott Elektrotechnikai Osztály alapozta meg. 1878-ban kezdtek elektrotechnikával foglalkozni a gyárban. Az elsô villamossági részleg a Kacsa utca 18. szám alatti ház udvarán álló fészerben volt, majd az idôközben üzemmé fejlôdött mûhely a Fô utca 73. szám alatti Király malom épületébe költözött. De hamarosan ez a hely is kicsinek bizonyult, mert Zipernovsky Károly, Déri Miksa és Bláthy Ottó Titusz forradalmi jelentôségû találmányának, a transzformátornak a gyártása sok külföldi megrendelést hozott. Ezért megvásárolták a Légszeszgyár melletti, Nagy és Kisrókus utca közötti telkeket, ahol 1897-ben felépítették az 1990-es évekig mûködô villamossági gyárat. Korábban ezen a területen állt Mechwart saját villája is. A transzformátor szabadalmaztatása után (1885) a világ számos városában helyeztek üzembe a gyár által szállított erômûveket, áramátalakító telepeket. A 19. század végén a tulajdonos Ált. Hitelbank csak nyereséget hajszoló magatartása a
Tusnad 2005
Baia Mare
Credit Bank) greed for gain all the researches and developments came to a sudden stop. Many outstanding researchers chose to leave the factory. At the beginning of the 20 th century, the development of the national electrification demanded many new projects, which in 1906 made necessary the transformation of the electricity plant into a joint enterprise under the name of Ganz Electricity Company. The instruments with marble cover and secessionist ornaments and other electrical appliances from the Transylvanian Herkulesfurdo power center, manufactured in this period, show the high quality of the Ganz products maintained over the years.
kutatások és a fejlesztések megtorpanását eredményezte. Sok kiváló kutató kilépett a gyárból. A 20. század elején a hazai villamosítás fejlesztésének számos feladata szükségessé tette a villamossági gyár önálló részvénytársasággá alakítását 1906-ban, Ganz-féle Villamossági RT. néven.
Herculane (Ro), the appliances of the power center manufactured by the Ganz Electricity Company
Herkulesfürdô, a villamos központ Ganz-féle Villamossági Rt. által gyártott berendezései
Thanks to Kalman Kando, the factory played an important part in the electrification of the railway. No wonder that important improvements were needed in 1911-12. It was in this period that the four-naved, riveted steel structured, basilica-like assembly hall with asymmetric mass was built, with concretefilled steel framework on its façades and big skylights on both sides of the nave and on the crest of the side naves based on the plans made by dr. Pal Liptak and his colleagues. This is the only protected monument in the entire factory area to this day. (The Cultural Heritage Office started the procedures for the protection of the other halls in 2004; these are under temporary monument protection at the time.)
Kandó Kálmánnak köszönhetôen a vasút villamosításában is komoly szerepet játszott az üzem. Nem csoda, hogy az 1911-12es évben jelentôs fejlesztésekre volt szükség. Akkor épült fel dr. Lipták Pál és munkatársai terve alapján az aszimmetrikus tömegû, négyhajós szegecseltacél szerkezetû, bazilikális Nagyszerelde, homlokzatain beton kitöltésû acélvázzal, a fôhajó két szélén, valamint a mellékhajók gerincén nagyméretû felülvilágítókkal. Ez az egyetlen védett épület az egész gyárterületen mind a mai napig. (2004-ben a többi csarnoképület védetté nyilvánítását is megindította a Kulturális Örökségvédelmi Hivatal, jelenleg azok csak ideiglenes mûemléki védelemmel bírnak.)
The Large Hall during construction (1911-12) and in 1925
A Nagyszerelde építés közben (1911-12) és 1925-ben
In 1929 the electricity plant merged into the parent company, and by means of the orders placed by the state the Ganz factory managed to survive the Great Depression. During World War II the factory became a seat of operations and at the end of December 1944 it burnt down. The factory suffered 50% structural and 65% machine damages. After the restoration of the damages caused by the war, the factory
1929-ben a villamossági gyár ismét összeolvadt az anyavállalattal, s a Ganz gyár az állami megrendelések révén sikeresen vészelte át a gazdasági világválságot. A II. világháborúban a gyár hadszíntérré vált, és 1944. december végén leégett. 50%-os épület,\ és 65%-os gépkár keletkezett. A háborús károk helyreállítása után jóvátételi célra termelt. Az 1950-es években növelték a területét, a Fény utca
Tusnad 2005
Baia Mare
Példaként az erdélyi Herkulesfürdô villamosközpontjának ebbôl az idôszakból származó márványburkolatú, szecessziós díszítésû mûszerei és egyéb energetikai berendezései jól illusztrálják a gyár termékeinek folyamatosan megôrzött magas színvonalát.
. Archive photos of the damages caused by World War II and the equipments of the factory
Archív felvételek a II. világháborús pusztításról és a gyár berendezéseirôl
produced for charity purposes. In the 1950s the factory area was enlarged, the Feny Street became under the name of Teherporta road a street within the factory area, and huge buildings were erected in the 1950s and 1960s. The production was ensured by the needs of the new power plants and the electrification of the entire country. In spite of the partial results, the ceasing of the independent technical developments led to spectacular failures as far back as the 1960s. Owing to the absence of the Soviet orders, bankruptcy became inevitable after the change of regime. The Ganz factory in its 100-year existence produced mainly for the foreign market, because due to its excellent inventors it was always one step ahead of the world. The same factory, that electrified cities from Melbourne to Rome, from Saint Petersburg to Buenos Aires, built the Valtellina railway in North-Italy, and provided the world from South-America to Egypt with trains powered by Jendrassik engine similar to the Arpad class of railbus, this factory with a great history was slowly dying at the end of the 19th century and then shut down for good in the second half of the 20th century, when the greed or ignorance banished all the activities of development and invention from the factory.
Teherporta út néven gyáron belüli utca lett, és hatalmas épületeket emeltek az 1950-1960-as években. A termelést az új erômûvek szükségletei, és az ország teljes körû villamosítása biztosította. Az önálló mûszaki fejlesztések megszûnése, a részeredmények ellenére, már az 1960-as években látványos kudarcokhoz vezetett. A rendszerváltozás után a szovjet megrendelések elmaradása miatt a csôd elkerülhetetlenné vált. A Ganz gyár több mint 100 éves fennállása alatt fôleg külföldi piacra termelt, mivel kiváló feltalálói révén mindig a világszínvonal elôtt járt. Ugyanaz a nagy múltú gyár, amely villamosította a városokat Melbourne-tôl Rómáig, Szentpétervártól Buenos Airesig, megépítette a Valtellina vasutat Észak-Olaszországban, az Árpád sínautóbuszhoz hasonló Jendrassik motorral felszerelt vonatokkal látta el a világot DélAmerikától Egyiptomig, egy kicsit haldoklott a 19. század végén és végérvényesen meghalt a 20. század második felében, amikor a nyereségvágy, avagy a hozzá nem értés számûzte a gyárból a fejlesztôi-feltalálói tevékenységet. 1991-ben külföldi tôkebevonással próbálták menteni a helyzetet, de a privatizáció során az olasz Ansaldo-cég csak a
State of the Ganz Electricity Factory buildings between 1997 - 2000
A Ganz Villamossági gyár épületeinek állapota 1997-2000 között
In 1991 they tried to solve the problems with the attraction of foreign capital, but during privatisation the Italian firm Ansaldo bought only the equipment and the polluting plant (hopefully with state-of-the-art environmental equipment) was moved to Tapioszele. Numerous reports and reviews have been written in daily papers and technical periodicals about the Ganz Park,
berendezéseket vásárolta meg és a szennyezô üzemet (remélhetôleg korszerûbb környezetvédelmi berendezésekkel) Tápiószelére költöztette. A gyár helyén létesített Ganz Parkról az elmúlt években rengeteg ismertetés és kritika jelent meg a napilapokban és az építészeti folyóiratokban. Többnyire elismerôk. Egy kicsit mindenki a saját érdemének tekinti azt, ami itt létrejött, legyen az
Tusnad 2005
Baia Mare
established in the place of the factory in the last couple of years. These were mostly appreciatory articles. Everybody considers this place to be his achievement, be it the owner, the designer, the architect, the investor, the contractor and many others. And this is quite right. The value of a remarkable creation, and this place is truly excellent, is increased by the fact that as a community creation it was created for a much larger community. The local government of the 2nd District in Budapest played indisputably an important part in the reabilitation of the industrial establishment. The attention of the decision makers was probably drawn to the valuable area and building complex, when the mayor of the district recommended the area for the construction of the National Theater. The residents of the 2 nd district had naturally the most interest in seeing the smelly, polluting factory disappear from the foot of the Rozsadomb (distinguished residential area in Budapest), as it had already been planned in the 1920s and after World War II. Until the turn of the millennium however, the factory wasn't relocated, and as a result of this, a huge amount of polluting and toxic materials gathered in the soil. More than half of the "D" Hall had to be demolished because of this, and in many parts of the area the soil had to be entirely substituted, which cost huge amounts of money. In order to save a considerable sum of money, a garage and a lake were created in the place of the removed soil, which are both necessary and practical. The Ganz Park was established within a state investment. The main objective was the creation of a 12800 sqm large exhibition space, where the national millennium exhibition could find its deserved place. The halls were the venue of not only the exhibition, but also of the different cultural programs. The existence of the remaining buildings is pure chance. Monument protection was noted on the property page by accident. In the mid 1990s the factory turned to our office several times, when its sale was placed on the agenda. We always set the terms, as if the area were truly under protection. In the meantime we started the procedures to secure monument protection for these buildings, and the "B" Hall, also called the Large Hall, was lited as historic builing in 1997. The value of the oldest building in the factory area, the uniquely structured, five-naved, basilica-type "D" Hall with cylindrical pillars, welded together with quarter circles, built in 1897 is no less than that of the "B" Hall, but the preliminary assessment considered that because of the intense pollution of the soil, the building should not be preserved. Fortunately a part of the building is still standing today, and its restoration was carried out according to the historic buildings conservation principles. We are convinced that, if there hadn't been any presumed or real monument protection, which was an impediment for the investors, the really well-located area would have been long since built up by the time of the millennium celebrations. Thus in an unparalleled way, on a ten-hectare area in the capital there are no office buildings or houses, as the former regulatory plans made it possible, but beside the cultural institutions a carefully arranged park, a lake and a playground can be found there. The relaxed atmosphere, the clean air, the ceasing of the noises and of the pollution improved the quality of the residents' life around the Margit boulevard. The regulatory plan drawn up by BUVATI (Andras Istvan) in 1993 has already defined the main aspects in the use of the area. The opening of the Feny Street and the opening of the eastwestern revealing street, to which – reaching into the remaining
Tusnad 2005
Baia Mare
tulajdonos, várostervezô, építész, beruházó, kivitelezô és a sort még hosszan lehetne folytatni. Ez így is van jól. Egy nagyszerû alkotásnak az értékét, és itt valóban remek dolog született, jelentôsen növeli az a tény, hogy közösségi alkotásként egy jóval szélesebb körû közösségnek készült. Az iparterület rehabilitációjában a II. kerületi Önkormányzat szerepét nem lehet elvitatni. Valószínûleg akkor figyeltek fel a döntéshozók az értékes területre és épületegyüttesre, amikor a kerület polgármestere felajánlotta a Nemzeti Színház esetleges helyszínéül. Természetesen a II. kerületi lakók voltak a legérdekeltebbek abban, hogy a bûzös, szennyezô gyár eltûnjön a Rózsadomb aljáról, ahogy azt már az 1920-as években és a II. világháború után is tervezték. A gyárnak az ezredfordulóig azonban mindig sikerült megúsznia a kitelepítést, s ennek eredményeként a talajban rengeteg szennyezô és mérgezô anyag gyûlt össze. A nagyforgácsoló „D" csarnoknak több mint a felét éppen emiatt kellett lebontani, s a terület többi részén is hatalmas összegeket felemésztô teljes talajcserét kellett végrehajtani. Költségkímélési célból ezért lett az elhordott föld helyén mélygarázs és tó, ami szükséges és célszerû is. A Ganz park állami beruházás keretében jött létre. A fôcél a 12 800 m 2 területû kiállítótér létrehozása volt, ahol az országos millenniumi kiállítás méltó otthont kaphatott. A csarnokok nem csak a kiállításnak adtak helyet, hanem a kapcsolódó különleges kulturális programoknak is. A megmaradó épületek a véletlennek köszönhetik mai létüket. A tulajdoni lapra tévedésbôl rá volt jegyezve a mûemléki védelem. A 90-es évek közepén a gyár többször megkereste hivatalunkat, amikor az eladás napirendre került. Mi a feltételeinket mindig úgy adtuk meg, mintha a terület valóban védett lenne. Közben természetesen megindítottuk a védetté nyilvánítást és a „B” jelû csarnok, a Nagyszerelde 1997-ben már törvényesen is mûemléki minôsítést kapott. A gyártelep legrégebbi épülete, az egyedülálló szerkezetû, öthajós, bazilikális, negyedkörökbôl összehegesztett hengeres pillérû, 1897-ben épült Nagyforgácsoló csarnok „D" értéke a „B" épületénél nem kisebb, de az elôzetes szakvélemények úgy foglaltak állást, hogy a nagyfokú talajszennyezôdés miatt nem tartható meg. Szerencsére az épület egy része megmaradt, és felújítása a mûemléki elveknek megfelelôen történt. Meggyôzôdésünk, hogy ha nincs a vélt vagy valós mûemléki védelem, ami a befektetôi érdekeknek gátat vetett, a rendkívül jó helyen fekvô terület a millenniumi ünnepségek idejére már rég beépült volna. Így viszont a fôvárosban egyedülálló módon, a tízhektárnyi területen nem irodaház vagy lakópark létesült, ahogy a korábbi szabályozási tervek erre is lehetôséget adtak, hanem a kulturális intézmények mellett igényesen kialakított zöldövezet, tó és játszótér. Az oldott környezet, a tiszta levegô, a zaj és szennyezés megszûnése jelentôsen növelte a Margit körút környékén élôk életminôségét. Már a BUVÁTI által (András István) 1993-ban készített keretszabályozási terv meghatározta a terület hasznosításának fôbb szempontjait: a Fény utca megnyitását, a gyárterületen végighaladó kelet-nyugati feltáró utat, amelyre - a megmaradó csarnokok közé öbölszerûen benyúló – zöldfelületi lánc van felfûzve. Ugyanúgy a Lövôház utcai lakótömb keretes beépítésének bezárásáról is döntés született. A részletes szabályozási tervet a MÛHELY KFT. (dr. Nagy Béla) készítette, amely az eredeti koncepción lényegesen nem változtatott.
Site plan of the Ganz Electricity Factory and the landscape architecture of the Millennium Exhibition and Cultural Center
A Ganz Villamossági Gyár helyszínrajza és a Millenniumi Kiállítási és Kulturális Központ kertépítészeti kialakítása
halls as a bay - a green belt is attached. A decision was made with reference to ending the building-up of the apartment building on the Lovohaz Street. The detailed regulatory plan was drawn up by the MUHELY LTD (dr. Bela Nagy), which basically didn't change the original concept. The architectural design began in February 1999. The demolition and building permits were granted in 2000. The execution of the works could only be started in the late autumn of 2000, because the factory hadn't been emptied at the promised pace. During the design the most important decision was to determine which buildings were to be kept.
Az építészeti tervezés 1999 februárjában indult. A bontási és építési engedélyeztetésre 2000 nyarán került sor. A kivitelezés csak 2000 késô ôszén kezdôdhetett meg, mivel a gyár nem ürült ki az ígért ütemnek megfelelôen. A tervezés során a legfontosabb döntés az volt, hogy a meglévô épületek közül mi maradjon meg. A gyár eredeti jellegét a Margit körúttal párhuzamos hosszan elnyúló, váltakozó magasságú csarnokok határozták meg. (A csarnokok elnevezésénél az új projektben is megtartották a gyár által korábban használt nagybetûs megjelölést, így az ismertetésnél is ezt alkalmazzuk.)
Demolition of the high buildings by blowing up
A magas épületek bontása robbantással
The original character of the factory was defined by a number of halls of various heights, ranging parallel to the Margit boulevard. (The names of the halls – the capital letters – were kept in the new project as well, so these will be used in our presentation.) The protection as a historic building as and the outstanding program presented earlier made it possible to preserve 3 more halls besides the one under protection. Two 40-m high buildings erected in the 1950s were blown up right at the beginning of the works. This would have taken the workers minimum 6 months with a traditional technology. In the interests of the great space composition, many worthless buildings have been demolished, the valuable elements of which have been preserved, such as the cast iron spiral staircase presented in the Foundry Museum. The southern part of the three – perpendicular to the Kisrokus Street – remaining halls was pulled down by the architects. The "B" listed building lost only its latest extension,
A mûemléki védelem és a korábban vázolt nagyszerû program a gyár területén a védetten túl további 3 csarnok megôrzését tette lehetôvé. Az 1950-es években létesített, két közel 40 méter magas épületet a munkák megkezdésekor robbantással jó egy hónap alatt lebontották. Hagyományos technológiával ehhez minimum fél év kellett volna. A nagy volumenû térkompozíció érdekében bontásra került sok egyéb értéktelen épület is, melyek értékes elemeit megôriztük, így került egy szép öntöttvas csigalépcsô az Öntödei Múzeumba. A három – Kisrókus utcára merôleges tengelyû – megmaradó csarnok déli vonalát visszabontották a tervezôk. A mûemlék Nagyszerelde „B” csak késôbbi toldalékától szabadult meg, a Nagyforgácsolónak „D” viszont csak a hátsó traktusai maradtak meg. A Transzformátorgyár „E” is jóval kisebb eredeti méreténél. A visszabontásra egyrészt statikai okok, másrészt a talajszennyezôdés miatt került sor, de szerepet játszott benne az is, hogy nagyobb legyen a
Tusnad 2005
Baia Mare
however all that remained of the "D" Hall were its outbuildings. The "E" transformer factory is much smaller than it used to be. The demolition of these buildings was carried out because of structural reasons and the pollution of the soil, but the creation of some green areas and the formation of a balanced space ratio played an important part as well. The architects took full responsibility for these mutilations using simple glass walls or roofs and walls, to suggest the former longitudinal arrangement. The plans were drawn up with the guidance of the architects of the CEH SC. (joint stock company) (Andras Repay construction) by Jozsef Weber ("B,C" Halls), Laszlo Benczur ("D,E" Halls) and Akos Takacs ("G" Hall). The architects, who worked on the project, are very experienced, many of them have been awarded an Ybl prize, but they do not rank among the star architects of Hungary. It seems that no stars are needed in the creation of something remarkable. They worked with independent ideas, but they often had to make compromises, which haven't ruined the overall architectural impression. All we had to do in the Cultural Heritage Office was to make sure that we didn't hinder their imagination and that we helped their flight of fancy with our advice. The objective is to preserve a segment of the architectural heritage and to give new meaning to it, so within the boundaries of practicability everyone tried to save everything they could from these wonderful halls. The decision about the aforementioned demolitions and architectural solutions were thus made without any serious debates. The final result at certain ideas, such as the closing of the "D" Hall with a simple glass wall proved the architects right. During the design all the colleagues (architects, specialty designers, interior designers etc.) did an excellent work. The millennium exhibition took place in the "B", "D" Halls and in the monolithic "C" building. The new building is entrance and entrance hall, but it's a construction, that connects and smooths the stylistic differences between the two halls. At the time of the Millennium Exhibition the visitor was guided through the "C" building by a ramp, that led to the "D" Hall first and then culminated in the amazing image of the "B" Hall. We can go outdoors through a brick wall, that springs open like a membrane. The entrance to the "C" building is carried out with modern architectural devices and is a pleasant, pillared and glass roofed structure.
zöldterület, és kiegyensúlyozott térarányok alakuljanak ki. A tervezôk a csonkolást nyíltan vállalták, hol metszetként megjelenô egyszerû üvegfallal, hol a korábbi hosszanti elrendezést érzékeltetô túlfutó elôtetôkkel, falakkal. A terveket a CÉH Rt. Generáltervezôi Répay András konstruktív irányításával Wéber József („B,C” csarnok), Benczúr László („D, E” csarnok) és Takács Ákos („G” csarnok) készítették. A munkában részt vett építészek nagy gyakorlattal rendelkezô, többségükben Ybl-díjas tervezôk, de mégsem számítanak a magyarországi sztárépítészek közé. Remek alkotás létrehozásához, úgy tûnik, nem is kell sztárnak lenni. Önálló elképzelések alapján dolgoztak, de gyakran kényszerültek kompromisszumokra, ami a végeredmény, az építészeti összhatás harmóniáját nem törte meg. Nekünk a Kulturális Örökségvédelmi Hivatalban az engedélyezések során csak arra kellett ügyelnünk, hogy ne kössük meg fantáziájukat, és tanácsainkkal segítsük szárnyalásukat. Itt a cél az építészeti örökség egy szeletének megôrzése és új tartalommal való megtöltése volt, ezért a célszerûség határain belül, amit lehetett, mindenki meg akart tartani a csodaszép csarnokszerkezetekbôl. Így komolyabb viták nélkül születtek döntések a fentebb vázolt bontásokról és építészeti megoldásokról. A végeredmény bizonyos elképzeléseknél, pl. a „D” csarnok egyszerû üvegfalú lezárásánál, a tervezôket igazolta. A tervezés során a munkatársak (építészek, szakági tervezôk, belsôépítészek stb.) is kitûnô munkát végeztek. A millenniumi kiállítás a védett „B ” és a „D” jelzésû csarnokban, valamint a kettô közé ékelôdô, hangsúlyozottan monolit szerkezetû „C” épületben volt. Az új épület bejárat és elôcsarnok, de egyben összekötô és a két csarnok közötti stiláris különbséget áthidaló építmény is. A Millenniumi Kiállítás idején a „C” épületben a látogatót kijelölt útvonalon vezette a felfelé emelkedô rámpa, amely elôbb a „D” csarnok megtekintését tette lehetôvé, majd csúcspontján a „B” épület fantasztikus látványával és látnivalóival ismertetett meg. A szabadba egy membránszerûen felnyíló téglafalon keresztül juthatunk. A „C” épülethez modern építészeti eszközökkel megoldott, hangulatos oszlopos, üvegtetôs bejárat vezet. Ez a három csarnok ma Budapest legnagyobb kiállítótere. A „B" jelzésû csarnok mellékhajóiban a kiállító felület növelését hullámos és cikk-cakkban elhelyezett galériákkal növelte a tervezô, a csarnok két végén pedig szinte a tetôig felnyúló csigalépcsôt helyezett el, ami domináns elemként hat az eredetileg alig tagolt térben.
Exterior of the Large Hall built in 1911-12 after the rehabilitation
Az 1911-12-ben épült mûemlék Nagyszerelde külsô képe a felújítás után
Tusnad 2005
Baia Mare
Image of the restored B and D halls facing the park
A felújított B és D jelzésû csarnok park felôli látványa
These three halls are the biggest exhibition area in Budapest. In the side naves of the "B" Hall the designer enlarged the exhibition area with some galleries placed in a zigzag and at both ends of the hall he put a spiral staircase, that almost reaches up to the ceiling and dominates the scarcely divided area. All the important functional rooms connected to the exhibition hall, the restaurant, coffee bar, cloakroom, social rooms, shops and the projection room are to be found here and in the entrance building. There are no dominant elements in the "D" Hall. The newly built gallery and ramp are hung on the crane structure of the factory. For the sake of a favorable and well arranged space, unfortunately, the two-storied gallery of the side naves has been eliminated. The open of wall leads the landscape into the exhibition area and opens up the hall for the outside world. A 600-seat Millennium Theater was created based on the principle of a "house in a house" in the "E" building, which is suitable for all kinds of TV or studio recordings.
A kiállítótérhez kapcsolódó minden szükséges funkció, étterem, kávézó, ruhatár, szociális helyiségek, üzlet, vetítôterem itt és részben a bejárati épületben található. A „D” csarnokban nincsenek domináns elemek, az újonnan beépített galériát és rámpát ötletesen az üzemi daruszerkezetre függesztették. A kedvezôbb és áttekinthetôbb térélmény kedvéért sajnos megszüntették a mellékhajók kétszintes galéria beépítését. A végfal áttörtsége bevezeti a tájat a kiállítótérbe, és egyben megnyitja azt a külvilág felé. Az „E” épületben ház a házban elv alapján 600 férôhelyes Millenáris Teátrumot alakítottak ki, amely bármilyen stúdió és TV felvétel készítésére is alkalmas. A kiváló akusztikájú terem koncertek szervezésére is megfelelô. A déli oldal lebontott részének megtartott szerkezete alatt szabadtéri „antik” színházat alakítottak ki, félköríves színpaddal. Az épület kívülrôl új tégla és gyönyörû faburkolatot kapott.
The restored D Hall, the lake and garden buildings
A felújított D jelzésû csarnok, a tó és kerti építmények
Concerts can be held as well thanks to the outstanding acoustics of the hall. An open-air "ancient" theater was created with a semicircular stage under the remaining structure of the demolished southern side. The exterior wall of the building is covered with a wonderful brick and wood paneling.The façades of the halls facing the Marczibanyi Square and the Kisrokus Street are in their original state, revealing the magnificent industrial architecture. The designers wanted to change the sight looking onto the park by means of modern architectural devices. The "G" Hall, also called the Millennium Lodge used to be an iron foundry and then a machine-shed.
A csarnokok Marczibányi tér és Kisrókus utca felôli homlokzatai az eredeti állapotot tükrözik, itt a gyönyörû ipari architektúra feltárul. A park felôli látványt az építészet mai eszközeivel kívánták elfogadhatóvá tenni az alkotók. A „G” jelzésû, a Fogadó a Millenárishoz nevû épület hajdan vasöntödeként majd gépjavítóként mûködött. Az épülethez acélhíd csatlakozik, amelyet a másik oldalon egy acél hiperbolikus paraboloid tart. Ezt tekintik a park szimbólumának. A gyönyörû épület végleges felújításához még legalább 400 millió forint kellene. Az ideiglenes védelem kimondásával és a mûemléki védelem megindítása után ma már biztos, hogy ez az épület is a kialakult együttes része marad.
Tusnad 2005
Baia Mare
The E Hall and the main entrance of the center
Az E jelzésû csarnok, valamint a központ fôbejárata
A steel bridge is connected to the building, which is held by a steel hyperbolic paraboloid on the other side. This is considered to be the symbol of the park. The restoration of this wonderful building still needs at least 400 million HUF. The temporary protection and the procedures started for the monument protection made sure that this building remained a part of the building complex, although it was originally planned only for temporary use. The Cultural Heritage Office did its best to save the "M" Hall and the so-called "Hot Whirler" close to the Margit boulevard from getting pulled down. As a part of this area is private property, our decisions regarding the temporary protection of these buildings are engaged in a lawsuit.
Pedig ezt eredetileg csak ideiglenes használatra tervezték. A KÖH részérôl mindent megtettünk annak érdekében, hogy a Margit körúthoz legközelebb fekvô „M” jelû csarnok és az un. Melegpörgetô bontására se kerüljön sor. Mivel a terület egy része itt magántulajdonban van, ideiglenes védelmet kimondó határozataink jelenleg per alatt vannak. Ezeknek az épületeknek a már kialakult együttesbe integrálása mellett a Ganz-park korábbi vezetése letette a voksot. Szerencsére a felügyeletet jelenleg gyakorló Informatikai Minisztérium terveiben is a megtartás szerepel, elképzeléseik szerint a lepusztult gyárépületek rehabilitálásával Konferenciaközpontot alakítanának ki a Fény utca és a Margit körút közötti területen. Remélhetôleg soha sem valósul meg az az elképzelés, amely a
The Millennium Lodge, that is the restored G Hall
A Fogadó a Millenárishoz, azaz a felújított G jelzésû csarnok
The former management of the Ganz Park voted for the integration of these buildings in the already well-arranged building complex. The plans of the Ministry of Computer Sciences, the current supervisory authority, are in favor of keeping these buildings; with the restoration of the ruined factories, they want to create a Conference Center in the area between the Feny Street and the Margit boulevard. Hopefully the idea to build a residential area in the place of the "G" building and the Zold Peter playground will never be carried out. It would be even more shocking, if the Mamut Mall were to expand in the former factory area. It is a fact however, anyone can see it, that the building complex is not finished. The apartment building on the Lovohaz Street, the Mamut I and II, as well as the walls created by the Ministry of Economy should be reconsidered architecturally. The reduction of the green areas is forbidden. To our joy, the new regulatory plan was accepted by the local
most említett épületek, a Fogadó a Millenárishoz „G”, valamint a Zöld Péter játszótér helyén lakóparkot szándékozott építeni. Ennél már csak az lenne megdöbbentôbb, ha a Mamut üzletközpont bôvülne a hajdani gyárterületen. Az viszont tény, ezt mindenki láthatja, aki itt körbenéz, hogy az együttes nincs befejezve. A Lövôház utcai lakótömb, a Mamut I és II, valamint a Gazdasági Minisztérium által alkotott térfalak építészeti eszközökkel újragondolandók. A zöldterület csökkentése viszont tilos. Örömünkre, a területre készített új szabályozási tervet is ebben a szellemben fogadta el Budapest Fôváros II. kerületi Önkormányzat Képviselô-testülete. A tárgyi iparterület-rehabilitáció külföldi példákkal összehasonlítva (pl. a bécsi gáztartályok rehabilitációja) is megállja a helyét. A párhuzamba állítás arra is jó, hogy eloszlassa azt a vádat, hogy hazánkban, a mi rehabilitációs munkáink során eltûnik az esetenként sokszázados
Tusnad 2005
Baia Mare
Former factory buildings, between the Feny Street and the Margit boulevard, which need to be restored
A Fény utca és a Margit körút közötti, felújításra váró, hajdani gyárépületek
government of the 2 nd District in Budapest according to this mentality. If we compare the restoration of this industrial establishment with other restoration projects from abroad (e.g. the restoration of the gas-tanks in Vienna), we can see that our project stands its ground. It is good to make a comparison, because it dispels the accusation that only in Hungary does the continuity of hundreds of years disappear during the restoration works and all we can save are some segments of the former factories. A better preservation of the industrial character cannot be achieved however rich a country may be, because we have to choose between a smelly industrial area right in the middle of a residential area and a cultural center and park, or even some houses, that would bring spiritual freshness into the area. In 1984 La Villette, the former slaughterhouse and cattle market in Paris was turned into an amusement center within a state investment.
folyamatosság, az eredeti építészeti egység a megváltozott rendeltetés révén, és csak szemelvényeket sikerül megôriznünk a hajdani gyárakból. Az ipari jelleg fokozottabb megôrzése nálunk gazdagabb országokban sem lehetséges, ugyanis választani kell a lakókörnyezet kellôs közepén lévô bûzös ipartelep vagy szellemi frissességet hozó kulturális centrum és park, esetleg lakóegyüttes között. Párizs egykori vágóhídját és marhapiacát, a La Villette-t 1984-tôl szintén állami beruházás keretében szórakoztató központtá alakították. A cél ott az volt, hogy a park régi hagyományát felelevenítve alkalmat biztosítsanak a közös tevékenységekhez, érdeklôdést ébresszenek a mûvészet és a tudomány iránt. Megmaradó épület csak a régi marhaistálló csodálatos acélszerkezetû csarnoka, ahol mozgatható falú és padlójú kiállítóterek és elôadótermek kaptak helyet. Új a hatalmas Tudománytörténeti Múzeum, a gömb alakú mozi, a zenei központ, a popszínház.
The park
A park
The objective there was to create public activities by evoking the old tradition of the park, to arouse interest in art and science. The only remaining building is the amazing steel-structured hall of the old cattle-shed, where we can find galleries and concert halls with mobile walls and floors. The huge Science Museum, the spherical cinema, the music center, the pop theater are all new buildings. The connecting link with the inventive buildings, promenades, gardens is the park itself, with its small red constructions placed in a regular raster. It's true that the Millennium Park is much smaller, but it is equally inventive, although some critics miss the idea, through
Az összekötô kapcsot a fantáziadús építményekkel, sétányokkal, kertekkel – maga a park jelenti, szabályos raszterben elhelyezett kis piros építményeivel. A Millenniumi Park igaz jóval kisebb, de ugyanolyan fantáziadús, bár egyes kritikusok hiányolják a tematikus parkok létének alapdefinícióját jelentô, az egyes elemeket egzakt gondolati láncra felfûzô koncepciót. Ugyanakkor elismerik, hogy a területet átszövô tórendszer kiemelkedô elem. A parkban sok a látványos, de nem öncélú megoldás – fa nô a vízen, fû az utcabútoron, nád a tó menti burkolatban.
Tusnad 2005
Baia Mare
Plants from different regions of Hungary and the Ganz Pipes
Hazai tájak növényei és a Ganz-sípok
which certain elements are strung on an exact chain of thought, which gives the basic definition of a theme park. At the same time they admit, that the system of lakes interweaving the area is an outstanding element. There are many spectacular solutions in the park, which do not have an end in themselves - a tree grows in the water, grass can be seen on the furniture outside and reed is in the pavement along the lake. The air vent of the garage was led out by means of Andras Bojti's work, the Ganz Pipes. The rusty cylinders create the impression, that something remained from the old factory and the slit metal cylinders are weeping over the past, when the wind is blowing. A section of the park was filled with plants from different regions of the country (wheat, grape, tomato, reed, apple tree, maple tree etc.) by the New Direction designer team led by Krisztina Wallner, but the metal grids and the glass passage evoking the industrial past, remind us that we are in a city. I hope that we keep up with the foreign examples in inventiveness and architectural imagination. The tremendous success of the Ganz Park proves this. The residents of the 2 nd District and of the capital love the park, it serves for their physical and spiritual recreation. In the first year after its opening, the park became a tourist attraction, similar to the foreign examples mentioned earlier. With the clever organization of certain programs and with good advertising, even more opportunities could be exploited. The Dreamers of Dreams – Sensational Hungarians was a very successful exhibition. Its director was Akos Eleod, and the conception of the spectacle was Gyorgy Szego's interesting work. The young and the old could find out everything about the works created by the Hungarian geniuses and talents in the country and
A mélygarázs szellôzôinek kivezetését Bojti András Ganz sípok címû alkotásával oldották meg. A rozsdás hengerek azt a benyomást keltik, mintha valami itt maradt volna a régi üzembôl, és a felhasított fémhengerek a múltat siratnák, amikor fúj a szél. A park egy részét hazai tájak növényeivel (búza, szôlô, paradicsom, nád, almafa, juhar stb.) népesítette be a Wallner Krisztina vezette Új Irány tervezôcsoport, de az ipari múltat idézô fémrács, az üvegfolyosó rögtön jelzik, hogy városi környezetben vagyunk. Bízom abban, hogy a külföldi példáktól sem ötletességben, sem építészeti fantáziában nem maradtunk el. Ezt a Ganz parkot övezô zajos siker is bizonyítja. A II. kerület és a Fôváros lakói szeretik a parkot, lelki és fizikai feltöltôdésükre szolgál. A megnyitása óta eltelt egy év alatt idegenforgalmi látványossággá is vált, hasonlóan az elôbb említett külföldi példákhoz. Okos programszervezéssel és jó reklámmal a lehetôségeket még sokkal jobban ki lehetne használni. Az Álmok Álmodói – Világraszóló Magyarok kiállítás nagy siker volt. A tárlat fôrendezôje Eleôd Ákos, a látványterv koncepció pedig Szegô György érdekes munkája. Öreg és fiatal megismerkedhetett mindazzal, amit a magyar elme és tehetség alkotott határainkon innen és túl, a tudomány, a mûvészet, a zene, a sport, az oktatás\ stb. területén. Sajnos csak egy jó évig volt nyitva a kiállítás, de így is majdnem egymillió ember látta. A felügyeletet gyakorló Informatikai Minisztérium a Ganz vagy Millenáris Parkot most megújuló programkínálattal szeretné ismét országosan látogatottá tenni. Készül a Jövô Háza program, amelynek megvalósításához az épületek kismértékû (építészeti megjelenésüket nem befolyásoló) átalakítására,
Installation of the Dreamers of Dreams - Sensational Hungarians exhibition
Az Álmok Álmodói - Világraszóló Magyarok címû kiállítás installációja
Tusnad 2005
Baia Mare
abroad, in the fields of science, art, music, sport, education etc. The exhibition was unfortunately open only for a year, but even so almost one million visitors saw it. The Ministry of Computer Sciences, the supervisory authority of the Ganz or Millennium Park would like to attract visitors with a new series of programs. The "House of the Future" program is currently in progress, for which a mild reshaping and modernization of the buildings (without affecting their architectural form) is necessary. The halls have to be modernized with a better heating system, insulation, shading and air-conditioning, so that it can be open throughout the year. The architectural and technical plans are ready, thus the renovation can soon be started. Hopefully an equally successful exhibition will be opened as the one mentioned earlier by the end of the year, which will mainly focus on computer technology and space research, but the Palace of Wonders, very popular among children, can be visited as well.
korszerûsítésére lesz szükség. A csarnokokat egész évi üzemelésre kell alkalmassá tenni, korszerûbb fûtéssel, jobb szigeteléssel, árnyékolással és klímaberendezéssel. Az építészeti és a gépészeti tervek elkészültek, így a felújítási munka hamarosan megkezdôdhet. Remélhetôleg év végén megnyílik az elôbbihez hasonlóan sikeres kiállítás, amely fôleg számítástechnikával, ûrkutatással foglalkozik majd, de helyet kap az intézményben a gyerekek körében rendkívül népszerû Csodák Palotája is.
BIBLIOGRAPHY: Kiszely Gyula: Öntödei Múzeum (The Foundry Museum) Hild-Ybl Alapítvány (Bazsó Gábor): Budapest, II Lövoház utca 39 sz. Tudományos dokumentáció - Hild-Ybl Foundation (Bazsó Gábor): Budapest, 2 nd District Lovohaz Street 39, Scientific documentation
FELHASZNÁLT IRODALOM: Kiszely Gyula: Öntödei Múzeum Hild-Ybl Alapítvány (Bazsó Gábor): Budapest, II. Lövôház utca 39. sz. tudományos dokumentáció
DESIGNERS / TERVEZÔK GENERAL DESIGNER / GENERÁLTERVEZÔ: CEH Tervezô, Beruházó és Fôvállalkozó Rt., 1112 Budapest, Dió utca 3-5. DESIGNERS OF BUILDING "B" / „B” ÉPÜLET TERVEZÔI: Wéber József leading architect designer, owner of the Ybl prize and colleagues / Ybl-díjas építész vezetô tervezô és munkatársai Tóth Péter architect designer / építész tervezô Stein Zoltán architect designer / építész tervezô Heppes Miklós leading interior designer and his colleagues / belsôépítész vezetô tervezô és munkatársai: Lente András leading interior designer / belsôépítész vezetô tervezô Hegedûs Attila interior designer / belsôépítész tervezô Vizler Barna Kádár Gergely Dr. Orosz Sándor Pintér Tibor Sárvári Zoltán Sápi János Lisai Lajosné Lénárt Attila Mészáros János
leading structure designer / statikus vezetô tervezô structure designer and kis colleagues / statikus tervezô és munkatársai leaading structure designer / statikus vezetô tervezô leading structure designer / statikus vezetô tervezô leading interior utilities designer and his colleagues / épületgépész vezetô tervezô és munkatársai leading electric installations designer and his colleagues / elektromos vezetô tervezô és munkatársai: electric installations designer / elektromos tervezô electric installations designer / elektromos tervezô leading designer for fire prevention / tûzvédelmi vezetô tervezô
DESIGNERS OF BUILDING "C" / „C” ÉPÜLET TERVEZÔI: Wéber József Tóth Péter Stein Zoltán Szekér Ferenc Liptovszky Gábor Dr. Németh Géza Szabóné Fischer Zsuzsa Sárvári Zoltán Sápi János Lisai Lajosné Klézli Noémi Palainé Straub Ágnes Józsa Gusztáv Mészáros János
leading architect designer, owner of the Ybl prize and colleagues / Ybl-díjas építész vezetô tervezô és munkatársai architect designer / építész tervezô architect designer / építész tervezô leading interior designer and his colleagues / belsôépítész vezetô tervezô és munkatársai leading structure designer and colleagues / statikus vezetô tervezô leading structure designer / statikus vezetô tervezô leading structure designer / statikus vezetô tervezô leading interior utilities designer and his colleagues / épületgépész vezetô tervezô és munkatársai leading electric installations designer and his colleagues / elektromos vezetô tervezô és munkatársai electric installations designer / elektromos tervezô electric installations designer / elektromos tervezô kitchen technology leading designer / konyhatechnológus vezetô tervezô sound insulation leading designer / akusztikus vezetô tervezô leading designer for fire prevention / tûzvédelmi vezetô tervezô
Tusnad 2005
Baia Mare
DESIGNERS OF THE "C2" DEEP-LEVEL GARAGE / „C2” MÉLYGARÁZS TERVEZÔI: Bozsó Annamária Nedelykov Ákos Liptovszky Gábor Dr. Németh Géza Takács Gyula Ágoston István Sápi János Lénárt Attila Rödönyi Károly Scharbert Gyula Mészáros János
leading architect designer and her colleague / építész vezetô tervezô és munkatársa: leading architect designer / építész vezetô tervezô leading structure designer / statikus vezetô tervezô leading structure designer and his colleagues / statikus vezetô tervezô leading interior utilities designer / épületgépész vezetô tervezô interior utilities designer / épületgépész tervezô leading electric installations designer / elektromos vezetô tervezô electric installations designer / elektromos tervezô leading technologist designer / technológus vezetô tervezô sprinkler designer / sprinkler tervezô leading designer for fire prevention / tûzvédelmi vezetô tervezô
DESIGNERS OF BUILDING "D" / „D” ÉPÜLET TERVEZÔI: Benczúr László Schmidt Péter Heppes Miklós Lente András Hegedûs Attila Bencze Zoltán Sárvári Zoltán Sápi János Lisai Lajosné Klézli Noémi Mészáros János
architect leading designer, owner of the Ybl prize / Ybl-díjas építész vezetô tervezô architect designer and his colleagues / építész tervezô és munkatársai leading interior designer and his colleagues / belsôépítész vezetô tervezô és munkatársai: leading interior designer / belsôépítész vezetô tervezô interior designer / belsôépítész tervezô leading structure designer és munkatársai / statikus vezetô tervezô leading interior utilities designer and his colleagues / épületgépész vezetô tervezô és munkatársai leading electric installations designer and hus colleagues / elektromos vezetô tervezô és munkatársai: electric installations designer / elektromos tervezô electric installations designer / elektromos tervezô leading designer for fire prevention / tûzvédelmi vezetô tervezô
DESIGNERS OF BUILDING "E" / „E” ÉPÜLET TERVEZÔI: Benczúr László Budaházi Eszter Heppes Miklós Lente András Hegedûs Attila Bencze Zoltán Berzétei László Tóth Zoltán Varró Tibor Palainé Straub Ágnes Józsa Gusztáv Arató Éva Mészáros János
architect leading designer, owner of the Ybl prize / Ybl-díjas építész vezetô tervezô architect designer and her colleagues / építész tervezô és munkatársai leading interior designer and his colleagues / belsôépítész vezetô tervezô és munkatársai: leading interior designer / belsôépítész vezetô tervezô interior designer / belsôépítész tervezô leading structure designer és munkatársai / statikus vezetô tervezô leading interior utilities designer and his colleagues / épületgépész vezetô tervezô és munkatársai leading electric installations designer and his colleagues / elektromos vezetô tervezô és munkatársa: electric installations designer / elektromos tervezô kitchen technology leading designer / konyhatechnológus vezetô tervezô sound insulation leading designer / akusztikus vezetô tervezô sound insulation leading designer / akusztikus vezetô tervezô leading designer for fire prevention / tûzvédelmi vezetô tervezô
DESIGNERS OF BUILDING "G" / „G” ÉPÜLET TERVEZÔI: Takács Ákos Bánszky Szabolcs Fazekas Csaba Müller Ferenc Szekér Ferenc Szabóné Fischer Zsuzsa Bógyi László Szabó László Palainé Straub Ágnes Józsa Gusztáv Mészáros János
leading architect designer and his colleagues / építész vezetô tervezô és munkatársai architect designer / építész tervezô architect designer / építész tervezô architect designer / építész tervezô leading interior designer and his colleagues / belsôépítész vezetô tervezô és munkatársai leading structure designer / statikus vezetô tervezô leading interior utilities designer / épületgépész vezetô tervezô leading electric installations designer and his colleagues / elektromos vezetô tervezô és munkatársai kitchen technology leading designer / konyhatechnológus vezetô tervezô sound insulation leading designer / akusztikus vezetô tervezô leading designer for fire prevention / tûzvédelmi vezetô tervezô
KÖRNYEZET TERVEZÔI / ENVIRONMENT DESIGNERS: Wallner Krisztina Kovács Árpád Lendvai Gábor Muszbek Johanna Pozsár Péter Tihanyi Dominika Bálint Pál \Hrustinszky György
Tusnad 2005
leading landscape architect designer / tájépítész vezetô tervezô landscape architect designer / tájépítész tervezô landscape architect designer / tájépítész tervezô landscape architect designer / tájépítész tervezô landscape architect designer / tájépítész tervezô landscape architect designer / tájépítész tervezô roadbuilding designer / úttervezô exterior utilities designer / külsô közmû tervezô
Baia Mare
R É PAY A n d r á s
Millenium Exhibition and Program Center 2nd District, Budapest Millenniumi Kiállítási és Rendezvény Központ Budapest, II. kerület PRELIMINARIES
ELÔZMÉNYEK
On the turn of 1998-1999 the Hungarian government came to a decision, to organize an exhibition of national importance in honour of the thousandth anniversary of the foundation of the state. The exhibition would show everything the Hungarian intellectual giants had contributed to the universal evolution of mankind over the past centuries. Although in this first phase only the main goals were formulated and the theme and structure of the exhibition were still an open question, the organizers managed to choose a place, which on the one hand couldn't be used in accordance with the requirements of an environmentally aware development, not ahistory of the area - as a starting-point - fitted perfectly into the planned cultural objectives. Building the center, the area surrounding the exhibition and program center could be restored as well. The structure of the already existing buildings would be renovated, but the reconstruction would respect most of the functions of the area, it would loosen the land structure, so that it could meet the requirements of the demands of our days and of the foreseeable future, giving thus the opportunity to develop the selected area. The National Office of Monument Protection had declared certain building parts erected at the beginning of the century to be historic monuments (the "B" building), confirming thus the choice of location and placing certain defining demands with regard to the conception, planning and realization of the project. This protection was an important decision not only because of the architectural-aesthetic values of the industrial hall, but also because of the untouched harmony of the townscape and the industrial significance of the area, as it secured the safety of all the buildings standing on this property registered under the same land registration number. Every industrial building has been placed under protection since then. It is time for me to mention, that the planned investment can be qualified as a "good" project insomuch as in spite of its dimension, it "created consensus" and was exemplary, because every participant, specialized authority and authority tried to support the project within their legal possibilities, that in some cases required strenuous efforts from them.
A kormány 1998–1999 fordulóján határozott arról, hogy a magyar államalapítás 1000. évfordulójának tiszteletére országos jelentôségû kiállítás kerüljön megrendezésre. A kiállítás lehetôséget biztosít annak bemutatására, hogy az elmúlt évszázadokban a magyar szellemiség mivel és miként járult hozzá az emberiség egyetemes fejlôdéséhez. Bár e kezdeti szakaszban csak a fô célkitûzés fogalmazódott meg, és a kiállításnak mind a tematikája, mind pedig a felépítése teljesen nyitott volt, olyan helyszín kiválasztására került sor, melynek egyrészt akkori hasznosítása már rövid távon sem felelt meg a környezettudatos fejlesztésnek, másrészt a terület fennállt beépítése, történeti fejlôdése – mintegy kiindulásként – messzemenôen illeszkedik a tervezett kulturális célokhoz. A központ megépítésével a kiállítási és rendezvényközpont környezetének rehabilitációjára is sor kerülhet. A meglévô beépítés szerkezetét megújító, de a funkciókat alapvetôen megôrzô rekonstrukcióval szemben a területet a mai kor és a belátható jövô igényeihez a térszerkezet fellazításával, funkcióváltással hasznosító rehabilitáció kiemelkedô lehetôséget biztosít a kiválasztott helyszín igényes fejlesztésére. A helykiválasztást erôsítette, és a koncepcióalkotástól a tervezésen át a megvalósításig meghatározó követelményeket támasztott a közremûködôkkel szemben, hogy az Országos Mûemlékvédelmi Hivatal egyes, a területen lévô század eleji épületrészeket mûemléki védelem alá helyezett („B” épület). E védelem az ipari csarnok építészeti - esztétikai értékei mellett a környezetbe illeszkedés városképi hangsúlya és a terület ipartörténeti jelentôsége miatt egyaránt fontos döntés volt, hisz az egy telekkönyvi számon nyilvántartott ingatlanon álló valamennyi épülettel kapcsolatban az értékôrzés fokozott biztonságát jelentette. Azóta valamennyi ipari épület védelem alá került. E helyütt kell kitérni arra, hogy a tervezett beruházás olyannyira „jó” projektnek minôsíthetô, hogy jelentôs nagyságrendje ellenére „konszenzus teremtô” és példa értékû, mivel minden közremûködô, szakhatóság, hatóság elismerésre méltóan lehetôségei, jogszerû keretei között támogatta, segítette az elôrehaladást, bár a rövid átfutási idô miatt ez esetenként komoly erôfeszítéseket követelt az érintettektôl.
THE DEVELOPMENT OF THE AREA A TERÜLET FEJLÔDÉSE The Millennium Exhibition and Program Center was founded on the area of the Ganz Electricity Factory. This area from the 2nd District in Budapest, surrounded by the Kisrokus Street, the Feny Street, the Lovohaz Street and the Marczibanyi Square, has played an important part in the country's industrial history. On this area, which borders on these four streets, there is a row of buildings ranging along the Lovohaz Street in close order, starting from the Feny Street and up to the Marczibanyi Square. These houses and office buildings form the external borderline of the Millennium Exhibition and Program Center. The row of buildings facing the Marczibanyi Square and the Kisrokus Street can be
A Millenniumi Kiállítás és Rendezvény Központ a volt Ganz Villamossági Mûvek területén valósult meg. A hazai ipartörténetben jelentôs szerepet játszó II. kerülethez tartozó területet a Kisrókus utca, a Fény utca, a Lövôház utca és a Marczibányi tér határolja. A négy utca által közrefogott területen a Lövôház utca mentén zártsorú beépítés húzódik a Fény utcától a Marczibányi térig. E sávban lakó- és irodaépületek képezik a Millenniumi Kiállítási és Rendezvény Központ határoló térfalát. Kis megszakításokkal zártsorúnak tekinthetô ugyancsak a Marczibányi tér és a Kisrókus utca felôli térfal is, míg a Fény utca
Tusnad 2005
Baia Mare
considered as standing in close order, while the building-up of the land facing the Feny Street is only partial. The partially closed area along the Feny Street offers the most spectacular view of the Millennium Exhibition and Program Center, from the direction of probably the heaviest pedestrian traffic in the park. Some of the most important tasks in creating the conception were the analysis of the former building-up of the area and the selection of those buildings, which needed to be demolished, so that the structure of the area could be loosened. In order to form an opinion on the investment, we should take a look at the beginning of the building-up of the area and the development of their use throughout the years. Many different names have been given to the Ganz Electricity Factory after its foundation (Klement Gottwald Factory, Ganz–Ansaldo SC joint enterprise) and the building-up of its area is the result of the work carried out over several centuries. Although according to researches and the disposable data, there was a Roman military camp at the bridgehead of the Margit Bridge, the area north to the Buda Castle was used for industrial purposes only from the end of the 13th century. In the second half of the 15th century a new castle wall was built, which slightly touched the course of the present Margit Boulevard and later secured the line of the national main road. Although the buildingup of the main road opposite the castle began at the end of the 17th century and the distribution of land (still valid today) could be found on the maps of the age, Rokus was still considered to be a separate, independent settlement in the 18th century. The present Margit Boulevard was mainly built up between 1809 and 1850. The building-up was helped by the fact, that several claypits and quarries were operating in the area, as it is indicated by the lakes from today's Moszkva Square, Marczibanyi Square and the Mechwart Square. As a curiosity it should be mentioned, that a place of execution was to be found right in the vicinity of the Center, on the present Marczibanyi Square. The Ganz Iron Foundry started its production in the former Korhaz (today Ganz) Street in this prosperous period of time. The factory was engaged in producing chilled iron railway wheels based on Abraham Ganz's state-of-the-art patent and then using the chilled iron technology Andras Mechwart developed the corn milling rolls. Andras Mechwart played a determining part in the building of the electricity factory on the area enclosed by the Lovohaz Street, the Margit Boulevard, the Kisrokus Street and the Marczibanyi Square. He was responsible for conducting activities of research and development besides the production. Among the creators of this "workshop" we find internationally recognized engineers, scientists and inventors, like Karoly Zipernowsky, Otto
Tusnad 2005
Baia Mare
felôli telekhatár mentén a beépítés csak részleges. A Fény utca felôl a nem zártsorú beépítés nyomán feltáruló park a legnagyobb várható gyalogosforgalom irányából nyújtja a Millenniumi Kiállítási és Rendezvény Központ legvonzóbb látványát. A koncepció/alkotás egyik legfontosabb kezdeti feladatát a beépített terület elemzése, a terület szerkezetének fellazítását elôsegítô bontásokra javasolt épületek kiválasztása jelentette. A megvalósult beruházás megítélését elôsegítendô érdemes röviden visszapillantani a terület beépítésének kezdeteire, és a hasznosítás történeti fejlôdésére. Az alapítását követô évtizedekben számos névvel illetett volt Ganz Villamossági Mûvek (Klement Gottwald Gyár, Ganz – Ansaldo Rt.) területének beépítése több évszázadra nyúlik vissza. Bár a kutatások és a rendelkezésre álló adatok szerint, a mai Margit híd budai hídfôjében már a római korban is katonai tábor mûködött, a Budai Vártól északra fekvô térség gazdasági hasznosítása csak a XIII. század végén indult el. A jelenlegi Margit körút vonalát érintve a XV. század II. felében új várfal épült, mely a városfejlôdés késôbbi idôszakaira kihatóan rögzítette az országút nyomvonalát. Noha az országút Várral ellentétes oldalának beépülése már a XVII. század végén megindult, és a mostanáig fennálló telekosztás kezdeményei a korabeli térképeken fellelhetôk, az itt fekvô Rókust még a XVIII. században is önálló településnek tekintették. A mai Margit körút beépítése döntô mértékben az 1809-1850 közötti idôszakban történt meg. A beépítést segítette, hogy a közvetlen közelben több agyag, illetve kôbánya is mûködött, mint erre a mai Moszkva tér, a Marczibányi tér és a Mechwart tér helyén volt bányatavak is utalnak. Érdekességként említhetô, hogy a központ közelében, a mai Marczibányi téren mûködött egy ideig az egyik vesztôhely is. E virágzó idôszakban indította meg termelését az egykori Kórház (ma Ganz) utcában a Ganz Vasöntöde. A gyár Ganz Ábrahám világszínvonalú szabadalma alapján kéregöntésû vasúti kerék majd a kéregöntéses technológiából immár Mechwart András irányítása alatt továbbfejlesztett malomipari hengerszék gyártásával foglalkozott. Mechwart András meghatározó szerepet játszott abban is, hogy a mai Lövôház utca – Margit körút – Kisrókus utca – Marczibányi tér által határolt területen megalakult a villamossági gyár. Személyének nagy szerepe volt abban is, hogy a termelés mellett jelentôs energiát fordítottak a kutatás, fejlesztési tevékenységre is. A létrehozott „mûhely” alkotói között olyan nemzetközi hírû mérnökök, tudósok, feltalálók tevékenykedtek, mint Zipernowsky Károly, Bláthy Ottó Titusz, Déri Miksa vagy Jendrassik György.
Titusz Blathy, Miksa Deri or Gyorgy Jendrassik. Andras Mechwart played a huge part in the development of the factory, which is indicated by the fact, that the factory was moved in this area partly because before its construction Mechwart's villa and garden stood on the corner of today's Marczibanyi Square and the Kisrokus Street. Because of the increased production, the first big steelstructured industrial hall, the "D" Hall was erected beside the first smaller buildings of the factory. After not more than a decade, the "B" Hall was built as a necessary extension required by the development of the factory in 1911-12 and it was declared a historic monument in 1997. Due to the increased output, several small and big halls and service buildings were constructed, as well as many outbuildings and extensions were created, so as to meet the requirements of the increased demands. The industrial function of the area was increased by the Gasworks, which had been standing and operating in the area between the Feny Street and the Margit Boulevard for decades. Many of the residents there may still remember the containers and tankers of the gasworks, which were "parked" on the Kisrokus Street. The area disposed of an industrial railway track through the tramway on the Margit Boulevard; the rails in the Kisrokus Street, close to the factory were eliminated only a few years ago. The other part of these rails lay along the huge halls facing the Kisrokus Street until the beginning of the demolition works. The connection of the industrial railway tracks was terminated during the reconstruction of the Margit Boulevard, so the existence of the internal railway tracks became unjustified, when the industrial production stopped. The former industrial railway connection is indicated today by the narrow-gauge railway used for moving the special
Mechwart András meghatározó szerepére a gyár fejlôdésében utal egyebek között az is, hogy a gyár idetelepülése egyebek között arra vezethetô vissza, hogy a gyár építése elôtt az ô villája és ahhoz csatlakozó kertje állt a mai Marczibányi tér és a Kisrókus utca sarkán. A gyár elsô kisebb épületei után a termelés felfutása nyomán létesült az elsô nagyméretû acélszerkezetû ipari csarnok, a mai „D” jelzésû szerelôcsarnok. Alig több, mint egy évtizeddel késôbb követte 1911-12-ben a gyár fejlôdése nyomán szükségessé vált bôvítésként a mai „B” jelzésû, 1997-ben mûemléki védettség alá helyezett nagyszerelde. A termelés felfutásával további kisebbnagyobb csarnokok és kiszolgáló épületek, illetve a mûködés igényeit kielégítô épületrészek létesültek a csarnokok oldalaihoz toldva. A terület ipari funkcióját erôsítette a Fény utca és a Margit körút közötti területen évtizedekig mûködött Gázgyár, melynek tartályaira és a Kisrókus utcába „parkoló” tartálykocsi szerelvényekre néhány környéken lakó olvasó még bizonyára emlékszik. A terület a Margit kôrúti villamos vonalon keresztül iparvágány kapcsolattal rendelkezett, a Kisrókus utcában csak néhány évvel ezelôtt számolták fel a gyár felôli oldalon húzódó vasúti sínpárt. Ennek „vágánypárja” a hatalmas csarnokok Kisrókus utca felé esô harmadán húzódott végig a bontási munkák kezdetéig. A Margit körút rekonstrukciója során az iparvágány összeköttetése megszûnt, így a területen felszámolásra került ipari termeléssel egyidejûleg a belsô vasúti vágányok megtartása is indokolatlanná vált. Az egykori iparvasúti kapcsolatra mára csak a park különleges virágtartóinak mozgatására szánt kisvasúti sínpárok utalnak. A gyár területe a városrész fejlôdése nyomán felértékelôdött, így már a két világháború között felmerült kiköltöztetése,
Tusnad 2005
Baia Mare
flower-stands of the park. Due to the development of this part of the city, the factory area was assessed and between the world wars it was almost moved to another place, but because of the war climate the discussions on this subject came to a sudden end. More than half of the building complex and machine stock was destroyed or became unusable by the end of World War II. After the renovation, two five-storied ferro-concrete halls, the "C" and "F" Halls were built at a quick pace within the Industrial Plan. In the mid-1990s putting an end to the pollution and moving the factory to another place became a matter at issue again, as this part of the city – this central area had to be used with respect to the environment. Due to significant costs and different owners, this could be achieved only from the middle of the year 2000, in accordance with the regulatory plans accepted by the local government of the 2nd District in Budapest, which dealt with the Millennium Exhibition and Program Center as well. While planning the conception in the spring of 1999, the local government decided that this area would be renovated as the main location of the millennium programs. After ceasing the pollution, the preserved and renovated buildings would be used for cultural purposes in the long run, if possible, and the surrounding area would be turned into a high-standard park for the residents. The basic principle of the architectural conception created by Laszlo Benczur, Annamaria Bozso, Akos Takacs and Jozsef Weber, the architects of the CEH Rt (joint stock company) and their colleagues from the expert team, who worked on the exhibition and the programs, was that the valuable and preservable buildings and parts of the buildings should become, with a modern space design and high-standard transformation, the deserved place of the exhibition and the programs, which would carry messages for future generations. The hardest task in the planning of this conception was the selection of the buildings to be preserved or demolished, and the definition of an attractive space ratio - space transformation. Thus two high buildings came to be demolished, which were the least desirable in the “revitalization" and renovation of the area. The listed building "B", a part of the "D" building (the other part had to be demolished after ceasing the pollution in the area) and the "C" entrance building between the two mentioned earlier, as well as the underground garage to be found under the park bordering on the buildings, form one of the biggest exhibition areas in the country. The "E" assembly hall was preserved as well, in which a 600seat Millennium Theater was created, suitable for hosting theater performances and the TV recording of the events within the millennium exhibition and programs. Close to the entrance with the heaviest pedestrian traffic stands the "Millennium Lodge", that is the "G" building, where the visitors are received; the building fulfills different functions and is adequate for hosting professional and other events linked with the exhibition and the programs. The image of the entrance facing the Margit Boulevard is emphasized by the high-rise building and the bridge joined with the "G" hall. The park with its special and unique plants, fairy-playground, garden furniture and lakes is filled with children's laughter instead of the machine noises from sunrise to sunset, enriching this part of the city with an attractive and humane forum. THE DESIGN PROCESS, THE TASKS OF THE AUTHORITIES
Tusnad 2005
Baia Mare
azonban a háborús konjunktúra következtében az erre irányuló tárgyalások megszakadtak. A II. világháborúban az épületállomány és a géppark több mint fele megsemmisült, vagy használhatatlanná vált. Az újjáépítést követôen rohamtempóban épült meg a két, „C” és „F” jelzésû, 5 csarnokszint egymás fölé helyezésével kialakított vasbeton épület az IPARTERV tervezésében. A 90-es évek közepétôl ismét napirendre került a környezetszennyezés megszüntetése, és a felértékelôdött városrész érdekében a gyár áttelepítése. Jelentôs anyagi vonzatai, és a tulajdonosváltások miatt erre csak 2000. közepétôl kerülhetett sor, immár az érintett II. kerületi Önkormányzat által elfogadott, a Millenniumi Kiállítási és Rendezvény Központot is magába foglaló szabályozási tervekkel összhangban. Az 1999. tavaszán kialakult koncepció nyomán kormányzati döntés született arról, hogy a terület a millenniumi rendezvények központi helyszíneként kerül újjáélesztésre. A környezetszennyezés megszüntetése után a megtartott és felújított épületek lehetôség szerint hosszú távon is kulturális célra kerülnek hasznosításra, az épületek környezete pedig a lakosság számára használható igényes közparkká alakul át. A CÉH Rt. generáltervezésében Benczúr László, Bozsó Annamária, Takács Ákos és Wéber József építészek és munkatársaik által a kiállítási és rendezvény-szakemberekkel együttmûködésben megfogalmazott építészeti koncepció alapelve volt, hogy az értékes és megtartható épületek, épületrészek korszerû térformálással és igényes kialakítással váljanak a jövônek szóló üzenetet hordozó kiállítások és rendezvények méltó környezetévé. A koncepcióalkotás egyik legnehezebb feladata a megtartandó és elbontandó épületek kiválasztása, a vonzó térarányok, téralakítások meghatározása volt. Ennek eredményeként került lerobbantásra a terület „revitalizációja”, újraélesztése szempontjából legkevésbé kívánatos két magasépület. A megtartott „B” jelzésû mûemlék épület, és a környezetszennyezés eltávolítása miatt csak részben megtartható „D" épület a közöttük felépült „C" jelzésû új bejárati épülettel, valamint az általuk határolt térségben a vízfelülettel gazdagított park alatt létesült mélygarázzsal az ország egyik legnagyobb kiállítási központját alkotják. Megmaradt ugyancsak az „E” jelzésû szerelôcsarnok, mely Millenáris Teátrum néven 600 férôhelyes rendezvényközpontként mûködik, alkalmas színházi programok befogadására és stúdióként a kiállítások és rendezvények keretében megrendezésre kerülô események televíziós technikával történô rögzítésére. A legnagyobb forgalmú bejáratnál található a Fogadó a Millenárishoz néven számos rendezvény helyszíneként mûködô „G” jelzésû látogatófogadó épület, mely többféle kiszolgáló és vendéglátó funkciót lát el, egyben alkalmas a kiállítási és rendezvény programhoz kapcsolódó szakmai és más események befogadására is. A Margit körút felôli bejáratot hangsúlyosabbá teszi látványában a „G" épülethez kapcsolódó toronyépítmény és az összekötô híd is. A különleges, egyedi növényállománnyal, egyedi mesejátszótérrel, kerti bútorzattal és vízfelülettel gazdagított közparkban az ipari termelés gépzaját gyerekzsivaj váltja fel, kora reggeltôl késô estig vonzó és humánus fórummal gazdagítva a városrészt.
A TERVEZÉSI FOLYAMAT, HATÓSÁGI FELADATOK Preparatory Researches Elôkészítô vizsgálatok The preparation of the area, that is the demolition plans and works, as well as the planning of the new buildings could be started after the preparatory researches. The soil analysis showed, that in the area close to the Marczibanyi Square ground and stratal water can be found 70-80 cm below the surface. This information determined the groundwork and the organization of its execution. Partial excavations – which during the activities of Ganz– Ansaldo could only be partial – provided further data for the works. During the execution of the works could be discovered for example, that pillars of similar character, standing side by side have different foundations. The survey of the historic buildings summarized their history of the buildings and recommended the preservation of the valuable parts. Thus the visitor can see the old structure of the "B" and "D" buildings, which are the most interesting in this respect. The original metal elements are green, while the new parts are blue. The structure of the "G" building remained in its original state as well. The Demolition Works The demolition works can be divided into two big groups. The "C" and "F" buildings with their ten-storied ferro-concrete structures were blown up. This method meant the least burden in time, noise and dust. The other group was the traditional demolition of the steeland brick-structured buildings. The "D" building was an exception, at which the architects used the built-up steel supports at the new closing wall and at the new galleries. THE ARCHITECTURAL AND ENVIRONMENTAL CONCEPTION OF THE MILLENNIUM CENTER
Az elôkészítô vizsgálatokkal elindulhatott a terület felmérése, azaz a bontási tervek és a bontások, másrészt az új létesítmények tervezése. A talajmechanikai szakvélemény alapján láthatóvá vált, hogy a terület Marczibányi tér felôli részén a felszín alatt 7080 cm-re már talaj-, ill. rétegvízzel kell számolni. Ez az információ meghatározta az alapozási módokat és a kivitelezés megszervezésére is hatással volt. A részleges feltárások – melyek a Ganz-Ansaldo még folyó tevékenysége mellett tényleg csak részlegesek lehettek – további adatokat szolgáltattak a munkához. A kivitelezés során derült ki, hogy például egymás melletti, azonos jellegû pilléreknek eltérô alapozása van. A mûemléki szakvélemény összegezte az épületek történetét és javaslatot tett az értékesnek ítélt részek megtartására. Ennek megfelelôen a kész „B” és „D” épületekben, melyek ilyen szempontból a legérdekesebbek, a közönség láthatja a régi szerkezetet. Az eredeti vasanyag zöld, míg az új kék színezést kapott. Ugyanígy a „G” épület szerkezetei is eredeti formájukban maradtak meg. Bontási munkálatok A bontási munkákat két nagy csoportra oszthatjuk. A teljesen elbontandó régi „C” és „F” épületeket, melyek kb. 10 szint magas vasbeton szerkezetek voltak, robbantási eljárással volt a legcélszerûbb elbontani. A környezetre ez a módszer jelentette az idôben legkisebb zaj és porterhelést. A másik csoportba az acél, illetve tégla szerkezetû épületek hagyományos jellegû általános és részleges bontása tartozott. Ez alól kivétel volt a „D” épület, melynél az új végfalnál és az új galériánál a kibontott, majd beépített acéltartókat használták fel a tervezôk.
The "B" Building The building was planned by Dr Pal Liptak and his colleagues in 1911-12. It is a four-naved hall with asymmetric mass. The structure of the building is a riveted steel railed structure. The side-façade facing the Kisrokus street and the square is divided by a concrete-filled steel framework.
A MILLENÁRIS KÖZPONT ÉPÍTÉSZETI ÉS KÖRNYEZETKIALAKÍTÁSI KONCEPCIÓJA „B" jelzésû épület Az épületet 1911–12-ben dr. Lipták Pál mérnök és munkatársai tervezték. Aszimmetrikus tömegû négyhajós csarnok. Az épület tartószerkezete szegecselt rácsos acélszerkezet. A Kisrókus utcai és a tér felôli oldalhomlokzatot beton kitöltésû acélváz tagolja. Az épület másik két oldalát a késôbbiek folyamán bôvítették, illetve a szomszédos házzal összeépítették, így eredeti homlokzata megszûnt. A fôhajó két szélén, valamint a mellékhajók gerincén nagyméretû felülvilágítók készültek. Az épületet ipari mûemlékké nyilvánították, mivel korának jellemzô, igényesen megépített acélszerkezetû gyártócsarnoka. Az épület funkcionális elrendezésénél fontos szempont volt, hogy a három felszíni épület szerves egységet képezzen. A közönség átvezetése az I. kiállítási ütemet jelentô „D” épületbôl a II. ütemet jelentô „B” épületbe folyamatos közlekedési útvonallal történjen, megfelelô térélményt nyújtson a látogatóknak, s funkcionálisan jól igazodjon a kiállításhoz.
Tusnad 2005
Baia Mare
The other two sides of the building were later extended, attached to the neighboring house, thus the original façade disappeared. Big skylights were placed at two sides of the nave, as well as on the crest of the side-naves. The building has been declared a historic monument, because it is a high-quality steelstructured assembly hall, characteristic of its age. An important aspect in the functional organization of the building was to create a harmonious unit with the three surface buildings. The aim was to guide the visitor from the "D" to the "B" building through a continuous route, to present a fine sight and to adjust the building functionally to the exhibition. The entrance hall of the building and all the background functions linked with it are to be found on the ground floor of the "C" Hall. The coffee bar and restaurant, as well as the spiral floor leading to the "B" building are on the next floor. The ground floor and the first floor of the "D" Hall are exhibition areas. The margin of the newly built-up gallery upstairs and the direction of the guiding ramp deviate from the perpendicular axis of the hall, thus suggesting the deviation from the original structures. The new floor is partly fixed to the supports of the crane tracks and partly suspended from the existing cranebridges. Most part of the "B" building consists of exhibition areas. On the ground floor, under the new steel-structured galleries the visitors will find projection rooms, snack-bars, toilets, an electronic library and the maintenance room. A big souvenir shop was planned in front of the entrance. An internal terrace leading to the restaurant of the "C" building can be found upstairs.The guests arrive at the middle of the nave at a height of 7.2 m. From here they can walk in four directions to see the exhibition. From the upper floor of the podium, the visitor can be taken to the end of the hall by the crane of the factory, having the opportunity thus to overlook the entire exhibition area from above. Due to the special and interesting space organization of the two assembly halls, it was important to secure and carefully plan the visitors' routes with the placement of stairs, ramps, towers, bridges and galleries. We have striven to create a similarly highstandard interior connection at the newly planned "C" connecting building as well. Several exits have been placed at different parts of the exhibition area, leading onto a terrace and into a garden. In terms of existing halls, steel-structured constructions were planned for the interior. The connecting building has a ferroconcrete structure. The new façades have been shaped according to the demands of the exhibition areas situated behind them. The underground garage can be reached by car from the Kisrokus Street. Stairs and a lift have been placed in front of the main entrance, which connect the garage with the exhibition area. Another flight of stairs leads to the park. The "C2" Underground Garage The underground garage is near the "B", "C" and "D" buildings. The two-storied car park meets the parking requirements of the three connected buildings. The visitor can enter the underground car park from the Kisrokus Street, through the two-way ramp in the "D" building. The ground-plan of the parking lot is regular. It is a one-way parking space and the cars can move around anticlockwise. Transversal routes lead to the stands in the middle. The drivers
Tusnad 2005
Baia Mare
A „C” épület földszintjén a kiállító épület elôcsarnoka és az ahhoz kapcsolódó háttérfunkciók találhatók. Az emeleti szinten helyezkedik el a kiállítást kiegészítô kávézó és étterem, valamint a „B” épületbe átvezetô spirál folyosós közlekedô tér. A „D” épület mind a földszinten, mind az emeleten kiállítóteret tartalmaz. Az újonnan beépített emeleti galéria peremvonala, valamint a felvezetô rámpa iránya tudatosan tér el a csarnok merôleges tengelyirányától, ezzel a gesztussal is hangsúlyozva az eredeti szerkezetektôl való eltérést. Az új födémszerkezet rögzítése részben a darupálya tartókról, részben a meglévô daruhidakról függesztéssel történik. A „B” épület túlnyomórészt, jellemzôen kiállító felületet foglal magába. A földszinten az új acélszerkezeti galériák alatt vetítôhelyiségek, pihenô büféterek, szükséghelyiségek és elektronikus könyvtár, valamint karbantartó mûhely található. A kijárat elôtt nagyméretû ajándékboltot, shopot terveztünk. Az emeleten a „C” épület étterméhez kapcsolódó beltéri terasz található. A közönség a csarnok fôhajójának közepére érkezik 7,2 m magasságban. Innen négy irányban tud elindulni a kiállítás megtekintésére. A pódium felsô szintjérôl a megtartott üzemi daruval a látogató a csarnok végéhez utazhat, felülrôl áttekintve a kiállítóteret.
Mivel a két gyártócsarnok nem mindennapos, érdekes térkialakítással rendelkezik, a közlekedô útvonalak tervezésénél fontos volt a látogatók térben való mozgásának biztosítása, amit lépcsôk, rámpák, tornyok, hidak, galériák elhelyezésével kívántunk megoldani. Hasonlóképpen igényes belsô közlekedô létrehozására törekedtünk az újonnan tervezett „C” összekötô épületnél is. A kiállítótérbôl több helyen lehetôséget adtunk külsô térkapcsolatra, terasz és kert elhelyezésével. A meglévô csarnokok belsô terében acél szerkezetû építményeket terveztünk. A közbensô összekötô épület vasbeton szerkezetû. Az új homlokzatokat a mögöttes kiállítóterek igényeinek figyelembevételével alakítottuk ki. A mélygarázs gépkocsival a Kisrókus utcai oldalról közelíthetô meg. A garázsból a vendégek a kiállítási épületet lépcsôn és liften tudják megközelíteni, melyeket a fôbejárat elôtt helyeztünk el. Egy másik oldallépcsô révén közvetlenül a parkba érkezhetünk.
receive a ticket from a slot machine at the barrier placed at the end of the ramp. They can leave the car park only after paying the fee. The ramps connecting the two floors inside the car park are adjusted to the one-way traffic. The underground garage has two exits for the visitors. One is close to the main entrance of the "C" building, near the lift built for the disabled. The other exit is facing the park and is an emergency exit in case of fire. Near the stairs and the lift at the main entrance, the visitors can find the dispatcher room and the toilets. The detergent room, the waste disposal, the heating center and the plumbing room are on the first floor. Near the stairs of the emergency exit, four chimneys have been built for the emission of the air through the air vents. The underground garage consists of two fire sections, which are divided by a brick wall and fire stopping gates. An automatic network of extinguishers was developed for the entire area. The sprinkler engine room and pool have been placed on a lower floor. The underground car park was built in such a manner, that certain structures of the surrounding buildings lean on it, while besides the plants, a pool and a lake have been created above it. The wall surrounding the underground garage is water-resistant with a spurted concrete layer on the inside. The basic plate has a water-resistant ferro-concrete structure. The middle and closing floor structures consist of a monolithic ferro-concrete flat plate. The ferro-concrete plates were made with an extended concrete covering, without a separate eroding layer and with a synthetic resin coating, thus cars may use them as well. An infiltration network can be found under the basic plate, tied to wells, with pumping. Due to the flow direction of the ground water, a leakage system was created under the neighboring buildings, along the walls of the underground car park. In the closing floor structure a bituminous thick-plated insulation was created, with a leakage layer covered with a 1 m thick earth layer. The dryness of the service rooms is secured by an internal brushwork-insulation. Due to the heavy pollution of the soil caused by the activities of the Ganz factory, the building of the underground garage began with the termination of the damages caused by the pollution. Built-up area (garage and service area) 1. level 4650 sqm 2. level 4360 sqm Total of parking places: 250 pieces The "D" Building This is the oldest building in the factory area, built in 1897. The main nave of the five-naved hall towers over the side-naves. The double side-naves were two-storied constructions and SHED skylights were placed above them facing the Kisrokus Street. The internal pillar-framework of the hall, consisting of riveted round columns, is not used anymore. The main supports, which rest on the columns were all riveted steel holders. The roofing and the intermediate floor were timber structures resting on steel supports. The outside walls were made of brick, the coarse plastered façades were divided by crude brick lisenes. Two rows of segmental-arched windows provided on the longitudinal walls the light for the two-storied side-naves; these windows had brick window-ledges and square-stone frames with projecting keystones.
„C2" jelzésû mélygarázs A mélygarázs a „B”, „C” és „D” jelzésû kiállítási épületek mellett helyezkedik el. Az önálló terepszint alatti kétszintes parkoló a csatlakozó három épület parkolási igényét szolgálja. A földalatti parkoló a Kisrókus utca felôl a „D” épületben levô kétirányú rámpán keresztül közelíthetô meg. A mélygarázs alaprajzi kialakítása szabályos. A parkolóterület egyirányú, az óramutató járásával ellentétes haladással körüljárható. Keresztirányú utak nyílnak a közbensô állások megközelítésére. A garázsba behajtó jármûvek a rámpa alján elhelyezett sorompónál megállva jegyet kapnak az automatánál. Kihajtáskor fizetés után hagyhatják el a parkolót. A két szintet összekötô lehajtó rámpák is az egyirányú forgalomhoz igazítva vannak elhelyezve a parkoló belsejében. A mélygarázsnak két személykijárata van. Egyik a „C” épület fôbejárata közelében, a mozgássérültek részére is alkalmas lift mellett. A másik a park felôli oldalon biztosítja a mélygarázs két tûzszakaszából való biztonságos menekülést. A fôbejáratnál levô lépcsô és a lift közelében található a közönségforgalmi rész, diszpécser szobával és WC blokkal. Itt az elsô szinten került elhelyezésre a takarítószer raktár, a hulladéktároló, egy hôközpont és egy vízgépészeti helyiség. A menekülô lépcsô mellett a szellôzô levegô kibocsátására négy darab szellôzôkéményt állítottak fel. A mélygarázs két tûzszakaszból áll, amelyet téglafal, és tûzgátló tolókapuk választanak el. A teljes területen automata oltóhálózat készült. A sprinkler gépház és medence az alsó szintre került. A mélygarázs úgy lett kialakítva, hogy a környezô épületek bizonyos szerkezetei rátámaszkodnak, fölötte pedig a növényzeten kívül vízmedence és kerti tó létesült. A mélygarázs körítô falszerkezet vízzáró résfal, a belsô oldalon lövellt beton réteggel. Az alaplemez vízzáró vasbeton szerkezet. A közbensô és a zárófödém monolit vasbeton síklemez. A gépkocsival járható vasbeton lemezek növelt betontakarással készültek, külön koptató réteg nélkül, és mûgyanta burkolattal. Az alaplemez alatt szivárgó hálózat készült, zsompokba bekötve, szivattyúzással. A talajvíz áramlási iránya miatt a mélygarázs falai mentén a szomszédos épületek alatt szivárgó rendszer készült. A zárófödémben gyökérálló bitumenes vastaglemez szigetelés készült, szivárgó réteggel, fölötte 1 méter földtakarással. A kiszolgáló helyiségek megfelelô szárazságát belsô kent szigetelés biztosítja. Mivel a GANZ-gyár technológiájából adódóan a mélygarázs helyén a talaj erôsen szennyezett volt, az építkezés a talajszennyezés kárfelszámolásával kezdôdött. Beépített alapterületek (garázs és kiszolgáló terület) 1. szint 4650 m2 2. szint 4360 m2 Összes parkolóhely: 250 db „D” jelzésû épület A területen található épületek közül ez a legidôsebb, 1897ben építették. Az öt hajós csarnok középsô fôhajója kiemelkedett az oldalsó hajók fölé. A megkettôzött oldalhajók kétszintesek voltak és felettük a Kisrókus utca felé nézô SHED felülvilágítók redôztek. A csarnok belsô pillérváza ma már nem használatos, a darabokból szegecseléssel összeépített köroszlopokból állt. Az
Tusnad 2005
Baia Mare
The closing façade facing the Kisrokus Street was made in a similar manner. Of course on the closing wall of the central nave, big glass surfaces were created. A twin building stood in the place of today's "E" building and was built exactly as its neighbor. The buildings suffered considerable damages during World War II. The "E" building could not be rebuilt because of the damages. A new hall was erected instead of the former building. The wooden structure of the "D" building burnt down, the steel structures and brick walls were deformed. The image of the building underwent some serious changes during the restoration works. The central floor and SHED roofing weren't rebuilt into the side-naves. With a minimal change made in the steel main supports, a lightly sloping soft roofing made of porous plates was placed on steel purlins. The crude brick surfaces (lisenes, pedestal) were plastered. Crane tracks were placed in the side-naves as well. Because of this, the walls had to be rigidified with ferro-concrete buttresses. Above all the central nave preserved its original effect and imposing interior. The big crane, which functioned until the last minutes of the production, reminds us of the pre-war period. The "D" Hall was known under the name of the Large Machining Hall and its gates were closed under the same name, when the last huge machine, which bore the name of DIMITROV was taken to pieces and thus transported. The huge steel monsters were made with the use of a large quantity of cooling water mixed with oil, the water being gathered in the canal from under the giant machines. After the concrete troughs got ruined, the oil seeped into the ground under the building, heavily polluting thus the soil, the stopping of which caused a lot of trouble for the restorers of the Ganz area. Due to the soil pollution, most part of the "D" Hall had to be demolished. Based on the researches, only one third of the full length of the building could be preserved. The remaining part had to be transformed into an exhibition building, just like the "B" Hall. The two buildings would form a single unit connected by the new "C" Hall between them. Parallel to the façade of the "D" Hall facing the Kisrokus Street, a new two-storied office building was planned for the management of the exhibition. The exhibition hall was created as a comprehensive whole, one third of it was divided into two storeys by a gallery and a little gallery was created in one part of the central nave. The toilets and a lecture room were included in the plan of the hall. The visitors can go up to the gallery on a slightly rising ramp. The connection with the "C" building is ensured by large openings both on the ground floor and on the gallery. The twostoried underground garage can be entered from the Kisrokus Street, through the opening cut on the façade of the building. The terraced grandstand of the lecture room was built over the entrance ramp to the garage. The hall had to be demolished, but a part of the structures (an entire framework and the riveted main supports) had to be removed very carefully, because the supporting structure of the gallery built-up in the remaining hall and the extension of the hall had to be erected with the use of these structures. We wanted to distinguish the new structures from the original ones, thus the floor of the gallery is slightly sloping, its margin does not adjust to the coordinate system of the hall, the ramp is suspended from the cranes and the supports of the crane track and the "membrane" effect of the big glass wall is increased by the tensive structure. The deformation of the remaining
Tusnad 2005
Baia Mare
oszlopokon nyugvó fôtartók szintén szegecselt acél doboztartók voltak. A tetôszerkezet és a közbensô födém az acél fôtartókra ültetett ácsszerkezet volt. A külsô falak téglából készültek, a durva vakolattal ellátott homlokzati mezôket nyerstégla lizénák tagolták. A kétszintes oldalhajókat a hosszfalakon két sor szegmensíves ablak világította meg, tégla könyöklôvel, kváderezett keretezéssel zárókô kiemeléssel.
Hasonló rendszerben készült a Kisrókus utcai véghomlokzat is. Természetesen a középsô fôhajó végfalán magasra futó üvegmezôk készültek. Az épület párja a mai „E” épület helyén állt és szomszédjával teljesen azonos formában épült. A második világháború az épületekben jelentôs károsodásokat okozott. Oly mértékben, hogy az „E” épületet visszaépíteni már nem is lehetett. Helyette új csarnok épült. A „D” épület ácsszerkezetei kiégtek, az acélszerkezetek, de még a téglafalak is deformálódtak. A helyreállítások során az épület arculata lényegesen változott. Az oldalhajókba a középsô födém és a SHÉD tetôrendszer nem került vissza. Az acél fôtartók minimális módosításával acél szelemenekre kôszivacslapból készülô kis lejtésû, lágyfedésû tetôt fektettek. A nyerstégla felületeket (lizénákat, lábazatot) bevakolták. Az oldalhajókba is darupályák kerültek. Emiatt a falakat helyenként vasbeton támpillérekkel kellett merevíteni. Elsôsorban a fôhajó ôrizte meg eredeti hatását és impozáns terét. Az utolsó percekig is üzemelô nagy daru is a háború elôtti idôkre emlékeztet. A „D” csarnok kezdettôl fogva a Nagyforgácsoló nevet viseli, és mint Nagyforgácsoló kapuját zárták be, amikor darabokra bontva kiszállították az utolsó óriás gépet, amely a DIMITROV nevet viselte. A hatalmas acél monstrumok megmunkálásánál nagymennyiségû olajjal kevert hûtôvizet használtak fel, amit az óriásgépek alatti csatornákban gyûjtöttek össze. A beton teknôk tönkremenetele után az olajszennyezôdés az épület alá több méter mélységbe szivárgott le, súlyos szennyezést idézve elô a talajban, melynek felszámolása a Ganz terület rehabilitációján fáradozóknak okozott nem kis gondot. A „D” csarnokot elsôsorban az alatta lévô talajszennyezôdés miatt jelentôsen vissza kellett bontani. A vizsgálatok alapján az épület teljes hosszának csupán egyharmada maradhatott meg. A megmaradó részt az építtetôi szándék alapján a „B” csarnokkal együtt kiállítási épületnek kellett átalakítani. A két épület egy
structures caused by the war has not been restored. Most of the pillars are not straight and the walls bend. The walls of the hall have been cleaned of the plaster and its original crude brick structure has been left to stand out, even though the former damages couldn't be mended. The sand-colored stone covering of the ground floor adjusts to this color scheme, and so does the wooden floor covering on the gallery. At the beginning of the ramp we created a wooden square pad as a reminder of its original wooden squared floor. The original pillars and main supports are light green, the new structures are dark blue. The exterior with the original SHED skylights could not be returned to its original condition. The original terraced brick mouldings could not be restored either, because the new roof structure created after the war didn't allow it. However, on the basis of the original engravings and photographs, the crude plastered surfaces, the crude brick lisenes and the new windowframes could be all finished. We wanted to preserve the image of the basilica-like cross-section of the remaining one third of the building. This could be achieved with the placement of a big transparent glass wall between the structures. The horizontal lineation of the aluminum shading lamellas increase this tension. New aluminum windows were put in the segmental-arched window openings, but the window-grilles manufactured originally for a one-layered glazing were preserved on the external side. Number of storeys in the building ground floor + 2 galleries Gross area 2100 sqm Total of useful levels 3050 sqm Exhibition area 2150 sqm Height of the central nave up to the eaves 15,00 m Height of the side-naves up to the eaves 9,80 m Capacity of the lecture room 120 persons The “E" Building The twin building of the "D" Hall, constructed in 1897, stood in the place of the "E" building. The hall was entirely burnt down after a bomb attack in 1944, during World War II. The damages were so big, that restoration was out of the question. The present hall was built based on the Industrial Plan in 1947, during the second recovery of the production. In the yard transversal halls were attached to the building, from which the Iron Core Factory, built in 1920, remained intact during the war.
kiállítási egységet alkot, közöttük új „C” jelzésû elôcsarnokösszekötô épület létesült. A „D” csarnok Kisrókus utcai homlokzatával párhuzamosan kétszintes irodaszárnyat terveztünk a kiállítás vezetôsége részére. A kiállítási csarnokteret összefüggô térnek alakítottuk ki, egyharmadát galériával osztottuk két szintre és további kis galériát létesítettünk a középsô fôhajó egy részén. A csarnok tervében alakítottuk ki a kiállítási létesítmény együttes központi szaniter blokkját és egy elôadótermet. A közönség a galériára enyhe szögben emelkedô, hangsúlyos vonalvezetési rámpán juthat fel. A „C” épülettel való összeköttetés mind a földszinten, mind a galéria szintjén nagy nyílásokkal biztosított. A Kisrókus utcából az épület homlokzatán nyitott bejáraton keresztül lehet lejutni a kétszintes mélygarázsba. A lehajtó rámpa fölött alakítottuk ki az elôadóterem lépcsôzetes lelátóját. A csarnok bontását végre kellett hajtani, azonban a szerkezetek egy részét (egy teljes keretállást és a szegecselt fôtartókat) igen óvatosan kellett kiemelni, mert a megmaradó csarnokba beépített galéria tartószerkezetét és a csarnok kiegészítését ezekbôl a szerkezetekbôl kívántuk megoldani. Az újonnan beépülô szerkezeteket meg kívántuk különböztetni az eredetiektôl, így a galéria födéme enyhén lejt, a pereme nem igazodik a csarnok koordinátarendszeréhez, a rámpa a daruknál és a darupálya-tartókról függesztett szerkezeti megoldással készült, a nagyméretû üvegfal „hártya” hatását feszítômûves szerkezettel fokoztuk. A csarnok megmaradó szerkezeteinek háborús deformációit nem javítottuk ki. A pillérek többsége nem egyenes, a falak is hajladoznak. A csarnok falait a vakolattól megtisztítottuk és az eredeti nyers tégla struktúráját hagytuk érvényesülni még akkor is, ha a korábbi sérüléseit nem is tudtuk helyreállítani. A földszinti padló homok színû kôszônyeg burkolata is ehhez a színvilághoz igazodik, ugyanígy a galérián kiválasztott ipari fa padlóburkolat is. A rámpa indulásánál a csarnok eredeti fakockás padlójára emlékeztetve fakocka betétet készítettünk. Az eredeti pillérek és fôtartók halványzöld színûek, az új szerkezetek sötétkékek. Az eredeti SHÉD felülvilágítókkal hangsúlyossá tett csarnok külsô megjelenését már nem tudtuk visszaállítani. Nem lehetett az eredeti lépcsôzetes téglapárkányokat sem helyreállítani, mert ezt a háború után készített új tetôszerkezet nem tette lehetôvé. Azonban az eredeti metszetek és fotók alapján a durva vakolatú felületeket és a nyerstégla lizénákat és az új ablakkeretezéseket sikerült elkészíteni. A harmadában elvágott épület bazilikális hatású keresztmetszete rajzolatának kihangsúlyozására törekedtünk. A nagyméretû transzparens üvegfal szerkezetek közé feszítésével ez a szándék megvalósulhatott. A repülôszárny profilú alumínium árnyékoló lamellák vízszintes vonalazása a feszültséget tovább hangsúlyozza. A szegmentíves ablaknyílásokba új alumínium ablakok kerültek, azonban a külsô oldalon az üvegezéstôl megbontva az eredeti egyrétegû üvegezésre készített ablakrácsot megtartottuk. Az épület szintjeinek száma fszt+2 galéria szint Bruttó beépített alapterület 2100 m2 Hasznos szintterületek összesen 3050 m2 Kiállító terület 2150 m2 Középsô fôhajó ereszmagassága 15,00 m Szélsô hajók ereszmagassága 9,80 m Elôadóterem befogadóképessége 120 fô
Tusnad 2005
Baia Mare
The hall, built in 1897, was created for the production of transformers. The Iron Core Factory, built next to it in 1920, ensured a full-scale production. The hall, which was reconstructed after the war, still produced transformers. A much bigger hall had to be built because of the growing dimensions and demands. The central nave of the five-naved basilica-like hall towers over the side-naves. The side-naves are divided by heavy-duty galleries at a height of 5,60 m. The central nave, the side/naves and the galleries have all been craned. A two-storied service lane was built at the western side facing the "D" Hall. The "E" building had the following structure, after the removal of the transformer production. The supporting structure of the building consisted of riveted steel railed columns and railed main supports. The riveted support of the roof structure of the side-naves derived from the structure of the former hall destroyed in the war. The galleries are ferro-concrete floors built on steel supports. The dividing walls have big steel- and wooden-structured glass walls. The roof is made of porous plates to secure a proper rainwater insulation. Glass skylights are placed on the axis of the central nave in the longitudinal direction; in the side-naves the triangle crosssectional skylights are placed transversely. The supports of the crane track of the central nave and the sidenaves are solid steel supports. The forces deriving from the movement of the crane are led down by steel-railed, inclined tensive structures near the closing walls of the hall. Due to the reduction of the length of the building, only the framework and roof covering could be kept in their original dimensions. An open-air theater was created under and between the overreaching structures. The main section of the central nave is a TV studio. The audience area is on one side of the studio, while the service rooms are attached to the other side. On the upper floors of the ground floor + three-storied sections built inside the studio, we can find the technician's room, the actors' and extras' dressingrooms and the control rooms.
The upper floors facing the "D" Hall and along the closing façade facing the Kisrokus Street were built for office spaces. Near the visitors' main entrance, there is a restaurant on the upper floor and a kitchen and buffet on the ground floor. The maintenance rooms close to the studio are soundproof. Folding grandstands will be erected on two sides of the studio. In the middle of the room a traditional stage can be created with the set suspended from the crane-bridges.
Tusnad 2005
Baia Mare
„E” jelzésû épület Az „E” épület helyén eredetileg a „D” csarnokkal megegyezô üzemcsarnok állt, melyet 1897-ben építettek. A második világháborúban 1944-ben egy bombatámadás után a csarnok teljesen kiégett. A pusztítás oly nagy mértékû volt, hogy a helyreállítása nem jöhetett szóba. A jelenlegi csarnoképület 1947ben épült a gyár termelésének újbóli fellendülése idején, az IPARTERV tervei alapján. Az épület udvari végéhez csatlakozóan keresztirányú csarnokok csatlakoztak, melyek közül az 1920-ban épült Vasmagrakó épület a háború pusztítását is elkerülte. Az 1897-ben épült csarnok a transzformátorok gyártására létesült. Az 1920-ben mellé épített Vasmagrakó a teljes körû gyártást tette lehetôvé. A háború után újra épített csarnok változatlanul a transzformátorgyártás céljait szolgálta. Természetesen a megnövekedett méretek és igények miatt lényegesen nagyobb csarnok épült. Az öthajós bazilikális elrendezésû csarnok középsô fôhajója kiemelkedik az oldalhajók fölé. Az oldalhajók 5,60 m magasságban nagy teherbírású galériákkal osztottak. A fôhajó, az oldalhajók és a galériák is daruzottak voltak. A „D” csarnok felôli nyugati oldalon további kétszintes kiszolgálósáv épült. A transzformátorgyártás kitelepítése után az „E” épület az alábbi szerkezeti rendszert mutatta. Az épület jellemzô tartószerkezete szegecseltacél rácsos oszlopokból és rácsos fôtartókból állt. Az oldalhajók tetôzetét tartó szegecselt doboztartó, valószínû a háborús pusztítás áldozatává vált elôzô csarnokszerkezetbôl származnak. A galériák is acél tartószerkezetre épített vasbeton födémek. A térelhatároló falak falazottak, nagyméretû acél, illetve fa szerkezeti üvegfalakkal. A tetôfedés csapadékvíz szigeteléssel ellátott kôszivacspalló terítés volt. A középsô fôhajó tengelyében hosszirányban állított üvegezett felülvilágító található, az oldalhajóknál harántirányban állnak a szintén háromszög keresztmetszetû felülvilágítók. A fô- és oldalhajók darupálya tartói tömör gerincû acéltartók. A darumozgásból származó erôket a csarnok végfalai közelében acélrácsos ferde merevítô szerkezetek vezetik le. Az épület hosszát lerövidítve csak a fôhajó vázszerkezetét és tetôhéjalását tartottuk meg az eredeti méretében. A túlnyíló szerkezetek alatt és között szabadtéri színpadot rendeztünk be. Az épület fô rendeltetési egysége a középsô fôhajóban kialakított TV stúdió. A TV stúdióhoz az egyik oldalon a közönség helyiségei, a másik oldalon a kiszolgáló helyiségek csatlakoznak. A stúdió közé épített földszint + 3 szintes beépített részek emeleti szintjein az egyik hossz- és rövid oldalon további technikai helyiségek, színész és statisztaöltözôk, a mûködés irányításához szükséges helyiségek sora található. A „D” csarnok felôli oldal és a Kisrókus utca felôli véghomlokzat mentén lévô emeleti szintek bérirodák számára készültek. A közönség fôbejárata mellett az emeleten éttermet a földszinten konyhai elôkészítôt és büfét létesítettünk. A karbantartó helyiségsorokat hangzsilip választja el a központba helyezett stúdiótól. A stúdióban két végoldalra helyezett kihúzható lelátók készülnek. A terem közepén hagyományos színházi színpad is kialakítható a fölé beállított daruhidaktól leereszthetô díszletekkel. Az egész tér fölött sínezett hordozó rendszert szereltünk fel, horizontfüggöny, lámpatartók és díszlet függesztô
A carrier has been installed on rails over the entire area, which carries the horizontal curtain, lamps and the suspension system for the set. The open-air theater can be adjusted from the control bridges, which are fastened to the steel structure of the building. All the warehouses can be reached from the transport road on the corner of the Kisrokus Street and the Feny Street.
szerkezetek hordozására. A szabadtéri színpad az épület acélszerkezetéhez rögzített kezelô hidakról szolgálható ki. A szükséges méretû díszletraktár és egyéb raktárhelyiségek a Kisrókus utca – Fény utca sarok felôli beszállító útról közelíthetôk meg.
Demolitions
A gyárudvar felé esô oldalon lévô három darab keresztbe állított csarnokot el kellett bontani. A „D” és „E” épületek között a szabályozási terv közterületet jelölt ki, ezért a hosszoldali vasbeton szerkezetû toldaléképületet elbontottuk. A nagy transzformátorgyártó csarnokot is megrövidítettük és csak a középsô fôhajó vázszerkezetét és tetôhéjalását tartottuk meg. Elbontottuk a régi technológiai csatornákat és technológiai szárítókemencéket. A csarnokon belüli talajt 1,5 m mélységig ki kellett cserélni.
The three halls in the backyard, placed transversely had to be demolished. The regulatory plan indicated a public domain between the "D" and "E" buildings, so the longitudinal ferroconcrete structured extension had to be pulled down. The transformer production hall was made shorter, only the framework and roof covering of the central nave were preserved. The old technological canals and technological kilns had to be all pulled down. The soil within the hall had to be replaced at 1,5 m depth. New built-in constructions Based on the "house in a house" principle, a soundproof multilayered wall structure and acoustic floor were built in the central nave. The foundations of the walls, which are rigidified through the steel structure, were laid on a soundproof band. The floor structure is placed on a "floating layer". Every structure is acoustically separated from the sound lock. All the larger gates and the emergency exits have the stipulated sound insulation value. The same figure was stipulated for the doors and gates from the outside wall of the sound lock. The original galleries have all been preserved in the side-naves, they've been extended at the shorter parts and new levels have been built to meet each and every functional requirement. A new closing wall was erected over the open-air theater, its upper one third can be pulled down anytime for the necessary replacement works in the engine room of the ventilator. On the longitudinal side of the "D" building a new façade had to be constructed. Its structure and brick architecture adjust to the other remaining façade surfaces. The form and materials of the restaurant wing are different from those of the hall. The outside covering of the multilayered wall is laminate. The doors and windows on the façade of the building had to be replaced. We built in some aluminumstructured, double glazed windows and glass walls. Staircases were erected at the four corners of the buildings. In the case of three of these staircases, lifts were built in as well. A goods lift was planned between the kitchen upstairs and the preparation room on the ground floor. The brick material of the new façades was chosen after the cleaning of the existing surfaces, so the difference is practically imperceptible. The openings facing the Feny Street were walled up with used brick, and all the replacements and changes were carried out in the same way. Besides brick-red, the new doors and windows are silvergrey. The steel structures are light green. The panellings are red cedar surfaces coated with natural lacquer. We do not want to make changes to the brick architecture and the façades. Gross built-up area
2678 sqm
Bontások
Új beépítések A középsô fôhajóba „ház a házban” elv alapján hangszigetelt többrétegû falszerkezetet és akusztikai födémet építettünk be. Az acélszerkezet merevítésû falak alapozása hangszigetelô sávra ültetve készül. A padlószerkezet méretezett akusztikai „úsztatórétegen” nyugszik. A hangzsiliptôl minden szerkezet akusztikailag leválasztott. A nagyobb méretû kapuk és menekülô ajtók is az elôírt hanggátlási értékkel rendelkeznek. A hangzsilip külsô falában lévô ajtóknál és kapuknál is hasonló értékeket írtunk elô. Az eredeti galériákat az oldalhajókban megtartottuk, a rövid oldalakon is kiegészítettük, és további szinteket építettünk be a funkcionális igényeknek megfelelôen. A szabadtéri színpad felé új lezáró fal készült, melynek felsô harmadát a mögötte lévô szellôzôgépház gépcseréjére gondolva bonthatóvá készítettük. A „D” épület felôli hosszoldalon a bontott sáv vonalában új homlokzatot kellett építeni. A homlokzat rendszere és tégla architektúrája az épület megtisztított, megmaradó homlokzati felületeihez igazodik. Az éttermi szárnyat szándékaink szerint a csarnokétól eltérô formával és anyagokkal kívántuk megfogalmazni. A többrétegû fal külsô burkolata rétegelt lemez. Az épület homlokzati nyílászáróit le kellett cserélni. Hôhídmentes alumínium szerkezetû, hôszigetelô üvegezéssel ellátott ablakokat és üvegfalakat építettünk be. A létesítmény négy sarokpontjában lépcsôház készült. Ezek közül 3 helyen személyfelvonó is épült. További teherfelvonót terveztünk az emeleti konyha és a földszinti elôkészítô között. Az új homlokzati mezôk téglaanyagának kiválasztását a meglévô felületek tisztítása utáni idôre halasztottuk, így az eltérés gyakorlatilag alig észrevehetô. A Fény utcai oldalon lévô nyílásbefalazásokat, utólagos kiváltásokat és pótlásokat bontott téglából készítettük. A vöröses téglaszín mellett az új nyílászárók színét ezüst szürkében határoztuk meg. Az acélszerkezetek világos zöldek. A faburkolatok vöröscédrus natúr lakkozású felületek. A tégla architektúrán és homlokzati rendszerén nem kívántunk változtatni. Bruttó beépített terület: Külsô szabadtéri színpad és lelátó
Tusnad 2005
2678 m2 470 m2
Baia Mare
Open-air theater and grandstand Total of useful levels Height of the central nave up to the eaves Height of the side-naves up to the eaves Area of the studio Maximum capacity of the studio Capacity of the open-air grandstand Capacity of the restaurant
470 sqm 6100 sqm 18,67 m 11,72 m 900 sqm 600 persons 400 persons 60 persons
Összes hasznos szintterület Középsô fôhajó ereszmagassága Szélsô hajók ereszmagassága Stúdió alapterülete Stúdió maximális befogadóképessége Külsô színpad lelátó befogadóképessége Étterem befogadóképessége
6100 m2 18,67 m2 11,72 m2 900 m2 600 fô 400 fô 60 fô
THE PARK
A PARK
In the former industrial environment a free area was created with the demolition of some halls and the renovation of the valuable buildings, where a 3,5 ha large park is standing today. On the former 100% built-up area, today we find 3 ha of lawn, more than 3,000 sq m water surface and 358 trees, which help to create the appropriate environment for the residents. All this has an influence on the larger environment: with the demolition of certain buildings, the airing of the city has changed and the dimension of the relaxing green areas grows due to the creation of the park.
Az egykori ipari környezetben néhány üzemcsarnok lebontásával, illetve az értékesebbek visszabontásával és felújításával új szabad tér keletkezett, ahol ma egy 3,5 hektáros városi park található. A nemrég még 100%-os beépítettségû területen ma közel 3 ha gyepfelület, több mint 3000 m2 vízfelület és 358 fa teremt megfelelô környezetet a városi élet számára. Mindez hatással van a tágabb környezetre is: az épületek bontásával javult a környék átszellôzése, a park kialakításával pedig a kondicionáló hatása miatt rendkívül fontos zöldfelület nagysága növekszik.
Presentation of the Park
A park ismertetése
With the use of every existing condition, the planned park is an open-air establishment, that is in perfect harmony with the surrounding buildings - partly historic monuments or buildings with historic character renovated for the demands of our days -, and holds together the diversity of the surrounding buildings and walls. The forms, plants and materials of certain garden areas adjust at times to the built environment. The center of the garden is the system of lakes, which consists of two lakes and smaller ponds.
A tervezett park a meglévô adottságok lehetô legjobb kihasználásával olyan szabadtéri létesítmény, mely a környezô részben mûemléki, részben mûemlék jellegû, de a mai igényeknek megfelelôen felújított - épületekkel összhangban van, s a környezô épületek és térfalak sokféleségét egy egységgé fogja össze. Ennek érdekében az egyes kerti terek formavilága, növényzete és anyaghasználata igazodik az épített környezethez. A kerti tér központjának hangsúlyát a tórendszer adja, mely két tóból és vízszemekbôl áll.
Garden areas and functions
Kerti terek és funkciók
According to the above mentioned conception, the park consists of the following units:
A park a fent leírt koncepciónak megfelelôen az alábbi egységekbôl áll:
1. The Welcoming Square This is the main entrance of the park, from where the visitors are guided to the "G" building, to the information desk, the ticket offices and a restaurant. The guidance is determined by the pavement of the square, which is disrupted by the pavement changes placed at an angle of 45 o from the building: here the solid pavement is replaced by gravel surfaces, where the plants are cut in different shapes, and the visitors can walk among these plants. The green belt reaches into the square, disrupting thus the pavement of the square.
1. Fogadó tér Ez a park fôbejárati tere, ahonnan a látogatók nagy része a G. épületbe vezetendô, ahol az információs pult és a pénztárak, valamint vendéglô fogadja ôket. Ezt az irányítást fejezi ki a tér burkolata, melyet az épülettel 45 fokos szöget bezáró irányultságú burkolatváltások bontanak meg: itt a tömör burkolatot murvás felületek váltják fel, melyekben formára nyírt növények állnak, de közöttük a murvafelületek járhatók. A kert zöldfelülete gyepsávként is befut a Fogadótérbe, ezzel is megbontva a tér burkolatát.
2. The Square of the Music Pavilion Opposite the exit of the "G" building leading to the park stands the music pavilion: its unique shape gives emphasis to the building in this central square. The music pavilion is built over the lake as a pier, but the performances can be watched from the shore, the pier along the shore and from the paths. The best place to watch the shows (the exit of the "G" building) is covered with a gravel-like pavement, where the maple-trees stand like the columns of a colonnade. The mobile chairs are placed among these trees according to the character of the performance.
2. Zenepavilon tere A G épületbôl a parkba vezetô kijárattal szemben áll a zenepavilon: egyedi formájával különös hangsúlyt kap ebben a központi térben. A zenepavilon stégszerûen a tó fölé lóg, de a tó partjairól, ill. a tó partjainál vezetett stégekrôl és utakról is jól láthatókhallhatók az elôadások. A fô szemlélôirány felôl (G épület kijárata) murva jellegû burkolat készült, melyen oszlopos juharfák állnak, mintegy oszlopcsarnokként. A köztük elhelyezett mobil székek az elôadás jellegének megfelelôen rendezhetôk el.
Tusnad 2005
Baia Mare
3. Motivational Squares I Motivational Square One of the main motivational squares is beyond the pedestrian axis, right in the bosom of the dwelling houses and offers an interesting sight for the visitors: Grass tiles divided by rusty metal plates define the area. The trees planted in these grass tiles look as if they were assembled from these small movable grass tiles. II Motivational Square Another motivational square, a large green area lies between the "G" building and the corner of the Feny Street and the Kisrokus Street. Stepping out of the "G" building into the park, the sightseeing can begin: the vines planted in a row lead the hopefully - curious visitor to the far end of the park (the corner of the Feny Street and the Kisrokus Street), where those plants can be seen, which are characteristic of the Hungarian regions: shrubs and plant groups from forests, vines from the gently sloping hillside, wheat-field and apple-trees. The main objective here is to motivate and make the visitor contemplate the possibility of introducing the familiar regional elements into a park. Besides all this, it is a peaceful area far from the noisy traffic of the city, where the visitor can rest: for this purpose picnic chairs and benches have been placed here. A glass corridor passes through the regional elements, where the noises are filtered, allowing thus the visitor to contemplate from a certain distance. The glass corridor is repeatedly disrupted: we get back into the "noisy" outside world. The regional elements reflected in the glass can be watched in a special light. 4. Wheat-field The wheat-field is part of the II Motivational Square and lies among the surrounding gentle slopes with bales placed in a row. The glass corridor passes through the wheat-field as well. 5. Gentle slopes The gentle slopes are part of the II Motivational Square, too: these are 0,90 m high, the vines and certain paths follow the inclined course of the hillside, other paths and the glass corridor intersect them. These slopes divide the square or form an independent part of the park, giving rein to free associations with different memories in connection with familiar regions. 6. Playground In this safe corner, far from the car traffic lies the fairyplayground, which presents the tale of Zold Peter, allowing the children to act out the entire fairy tale. The playground is hedged in, and the children can get to the playground by going round the hedgerows, as if they were wandering in a maze. 7. Recreation Square At the meeting point of the two main pedestrian paths between the two lakes - there is a square with a solid pavement. The pavement is sectioned by trees, with chairs and benches placed among them. Between the two lakes, small ponds in the pavement indicate the connection of the lakes. The ponds are surrounded by benches; water-plants grow in the ponds.
3. Motivációs terek I. Motivációs tér Egyik fô motivációs tér a gyalogos tengelyen túl, a lakóházak öblében várja érdekes látnivalókkal a látogatót. Itt rozsdás vaslemezekkel határolt fûpadok egységei játszanak a térrel. A fûpadokba ültetett fák mintha a kis tolható fûpadokból álltak volna össze. II. Motivációs tér A másik fô motivációs tér a G épülettôl a Fény utca – Kisrókus utca sarka felé esô nagyobb önálló zöldfelület. A G épületbôl a parkba kilépve megkezdôdhet a szemlélôdés: sorba ültetett szôlôk vezetik a – remélhetôleg – kíváncsivá tett látogatót a félreesô parkrészbe (Kisrókus utca – Fény utca sarka), ahová a magyar tájra jellemzô leghangsúlyosabb növények kerültek: karsztbokor-erdei növénytársulás, lankás dombokon átvezetô szôlôsorok, búzatábla és almáskert. Itt elsôdleges cél, hogy a látogatót a megszokott táji elemeknek parkban szokatlan alkalmazása elgondolkodtassa, motiválja. Emellett ez egy csendes, a látogatók fô közlekedési útvonalától félreesô terület, ami pihenôtérként is mûködik: e célból fából készült ülôpiknikezô alkalmatosságok lettek elhelyezve. A szemlélôdés érdekében üvegfolyosó vezet át az említett táji elemeken, melyben a hangok szûrôdnek, és így – kissé kikerülve a közvetlen környezetbôl – lehet nézelôdni. Az üvegfolyosó többször megszakított: ekkor ismét visszakerülünk a „zajos” külvilágba. Mindemellett az üvegben tükrözôdô természeti elemek is sajátos megvilágításba kerülnek. 4. Búzatábla A II. Motivációs tér része a búzatábla, mely a környezô lankák közt terül el, benne buxusból nyírt bálák sorakoznak. A búzatáblán is átvezet az üvegfolyosó. 5. Lankák Szintén a II. Motivációs térben futnak a lankák: ezek 0,90 m magasak, rajtuk átfutnak a szôlôsorok és egyes utak, más utak és az üvegfolyosó pedig átszeli ôket. Ezek a lankák részben osztják a teret, részben önálló parki elemként vannak jelen, szabad asszociációt engedve különféle tájakhoz kötôdô emlékekre. 6. Játszótér Ebbe a védett, gépjármûforgalomtól távol esô sarokba kerül a mesejátszótér, mely a Zöld Péter címû népmesét mutatja be, lehetôséget adva a mese végigjátszására. A játszóteret a park felôl egymással párhuzamos, nyírott sövények csoportja zárja le, melyeket kerülgetve – akár egy labirintusban bolyongva – jutnak be a gyerekek a játszótérre. 7. Pihenô tér A két fô gyalogos tengely találkozásánál – egyben a két tó között – teresedés alakul ki, szilárd térburkolattal. A burkolatot fák törik meg, közéjük székek, padok kerülnek. A két tó között a burkolatban megjelenô kis vízszemek jelzik a tavak összekötését. A vízszemeket padok veszik körül, bennük vízinövények nyílnak.
Tusnad 2005
Baia Mare
8. Interactive Square A unique smaller garden area can be created using the known and newly discovered park elements and the visual experience. Certain elements can be moved around in their mobile holders to create the desired composition. The Interactive Square lies 60 cm deeper than the surrounding areas, forming thus a separate part from the other parts of the park, but it still connected to the park through grassy slopes and ramps. A lake separates the Interactive Square from the exhibition halls, the shore of which is a long waterfall with a crumbled lineation, as if the lake wanted to overflow.
8. Interaktív tér Az eddig megismert és újra felfedezett parki elemek és a vizuális élmény felhasználásával itt lehetôség nyílik egy kisebb kerti tér egyedi megalkotására. Az egyes kertépítô elemeket biztonságosan gurítható edényekkel lehet a kívánt összeállításhoz tolni. Az Interaktív tér a környezetéhez képest 60 cm-rel mélyebben fekszik, külön térszintet képezve a park többi részétôl, de enyhe lejtésû füves rézsûkkel és rámpákkal összekötve azokkal. Az Interaktív teret a kiállító csarnokoktól tó választja el, melynek innensô oldala egy tördelt vonalvezetésû, hosszan elnyúló vízesés, mintha a tó ki akarna önteni medrébôl.
Lakes Tavak The entire park is held together by the system of lakes in the center: this consists of two lakes, which are connected by ponds. The music pavilion is built over the first lake, which is spanned with a bridge and a pier. Its shore is pebbly and gently sloping, just like the natural lakes. The second lake is shallower – it's placed over the underground garage -, it's only 60 cm deep and its bottom is on the same level with the interactive square. A waterfall can be found between the levels, at full length of the lake, as if the lake could not tolerate its limits and wanted to flood the interactive square, where the visitors are creating individually arranged areas with the movable garden elements. Of course the overflowing water is directed into the first lake through the piping under the pavement. This waterfall, that moves a big body of water, ensures a proper movement and airing of the lake.
Az egész parkot a középsô részen végighúzódó tórendszer fogja össze: ez két tóból áll, melyeket vízinövényekkel beültetett tószemek kötnek össze. Az elsô tó fölé lóg a Zenepavilon, ill. híd és stég vezet át rajta. Partja lankás, kavicsos, a természetes tavakhoz hasonlóan. A második tó sekélyebb – a mélygarázs fölé került – csak 60 cm mély és a tó fenékszintjével megegyezô szintre süllyesztve létesült a interaktív tér. A szintek között a tó teljes hosszán vízesés folyik, mintha ez a tó itt már nem bírná elviselni a neki rendelt keretet és túlcsordulna az Interaktív térre, ahol a látogatók saját elrendezésû tereket alkotnak éppen a tolható kerti elemekbôl. Természetesen a kifolyó víz a burkolatok alatt vezetett csôhálózaton keresztül visszakerül az elsô tóba. Ez a nagy víztömeget megmozgató vízesés megfelelô mozgatást és szellôztetést biztosít a tónak.
Space organization Térszervezés The idea of the park doesn't influence the use of certain areas, it offers a place to rest and to get away from the everyday burdens, it ensures a visual experience, while it is suited for pedestrian traffic. Some areas are not separated from one another, they are clearly organized, but every area evokes different moods and feelings. The entire park is held together by the system of lakes.
A park gondolatisága nem befolyásolja az egyes terek használhatóságát, teret biztosít a pihenésnek, és a város okozta terhelés alóli felszabadulásnak, vizuális élményt ad, miközben az átmenô gyalogos forgalmat is kiszolgálja. Az egyes terek nem különülnek el, átláthatók, ugyanakkor bennük tartózkodva másmás hangulat fogadja a látogatót. Az egész parkot a tórendszer fogja össze és teszi egységes térrendszerré.
Form Forma The forms created in the park originate from the borderline between the natural and artificial environment. Regular lines cross over the natural elements. The park is the union of the landscape in our mind and the urban planning.
Tusnad 2005
Baia Mare
A park formavilága a természetes és mesterséges környezet törésvonala mentén született. Szabályos vonalak keresztezik a természetes elemeket. A bennünk élô, tájról alkotott kép és az urbánus megtervezettség közös eredménye lett ez a park.
INTERESTING INVESTMENT DATA AND FEATURES Here are some interesting data to give an idea of the order of building and installations works carried out at the Millennium Exhibition and Program Centre:
ÉRDEKES ADATOK, JELLEMZÔK A BERUHÁZÁSRÓL A Millenniumi Kiállítási és Rendezvény Központ építésszerelési munkái nagyságrendjének érzékeltetésére néhány érdekes adat, természetesen a teljesség igénye nélkül
AREAS (total, comprising the area of structures too): a. Exhibition buildings i. "B" marked exhibition hall (historic building) 6,288 sqm ii. "C" marked entrance building 2,683 sqm iii. "D" marked exhibition hall 3,281 sqm iv. Deep-level garage (250 places) 9,500 sqm
ALAPTERÜLETEK (bruttó, tehát a szerkezetek alapterületeit is tartalmazó): a. Kiállítási épületek i. „B" jelû (mûemlék) kiállítási csarnok 6.288 m2 ii. „C" jelû bejárati épület 2.683 m2 iii. „D" jelû kiállítási csarnok 3.281 m2 iv. Mélygarázs (250 férôhely) 9.500 m2
b. Theatrical Hall: 6,910 sqm c. Reception Hall: 2,480 sqm d. Total: 31,142 sqm
b. Millenáris Teátrum: 6.910 m2 c. Fogadó a Millenárishoz: 2.480 m2 d. Összesen: 31.142 m2
Level numbers, dimensions
Szintszámok, méretek
e. Exhibition halls i. "B" marked exhibition hall (monument) 84.52 x 51.83 m 2 levels ii. "C" marked entrance building 34.61 x 29.84 m 3 levels iii. "D" marked exhibition hall 6.5 x 43.80 m 3 levels iv. Deep-level garage (250 places) 81.88 x 84.96 m 2 levels
e. Kiállítási épületek i. „B" jelû (mûemlék) kiállítási csarnok 84,52 x 51,83 m 2 szint ii. „C" jelû bejárati épület 34,61 x 29,84 m 3 szint iii. „D" jelû kiállítási csarnok 46,5 x 43,80 m 3 szint iv. Mélygarázs (250 férôhely 81,88 x 84,96 m 2 szint
f. Theatrical Hall: 54.41 x 46.59 m 4 levels g. Reception Hall: 40.18 x 33.91 m 3 levels
f. Millenáris Teátrum: 54,41 x 46,59 m 4 szint g. Fogadó a Millenárishoz: 40,18 x 33,91 m 3 szint
Number of elevators
Felvonók száma
h. i. ii. iii. iv.
h. i. ii. iii. iv.
Exhibition halls "B" marked exhibition hall (monument) 3 pieces "C" marked entrance building 1 piece "D" marked exhibition hall 1 piece Deep-level garage (250 places) 1 piece
Kiállítási épületek „B" jelû (mûemlék) kiállítási csarnok 3 db „C" jelû bejárati épület 1 db „D" jelû kiállítási csarnok 1 db Mélygarázs (250 férôhely) 1 db
i. Theatrical Hall: 3 pieces j. Reception Hall: 1 piece k. Total: 10 pieces
i. Millenáris Teátrum: 3 db j. Fogadó a Millenárishoz: 1 db k. Összesen: 10 db
Utilities
Közmûvek
l. m. n. o. p. i. ii. iii.
l. m. n. o. p. i. ii. iii.
Water 300 m 3 new connections Sewer 1,140 m 5 new connections Gas piping 230 m, 2 new connections District heating conduits 480 m, 3 new connections Electric installations 10 kV network 1,860 m 0,4 kV network 2,000 m Transformer 3 pieces, 2,600 kVA
Vízvezeték 300 m 3 új bekötés Csatorna 1.140 m 5 új bekötés Gázvezeték 230 m, 2 új bekötés Távhô vezeték 480 m, 3 db új bekötés Elektromos ellátás 10 kV hálózat 1.860 m 0,4 kV hálózat 2.000 m trafó 3 db, 2.600 kVA
Environment
Környezet
q. i. ii. iii. iv.
Park surface in total: 34,370 sqm Water surface: 3,220 sqm Green surface 21.810 sqm Pavement 9.340 sqm Number of planted trees: 440 pieces
q. i. ii. iii. iv.
Parkfelület összesen: 34.370 m2 Ebbôl vízfelület: .220 m2 Ebbôl zöldfelület 1.810 m2 Ebbôl burkolat 9.340 m2 Telepített fák száma: 440 db
r.
Environment cleaning:
r.
Környezet tisztítás:
Tusnad 2005
Baia Mare
i. Quantity of soil polluted with hydrocarbon carried away: 8,800 cu. m. ii. Quantity of subsoil water polluted with hydrocarbon and cleaned: 760 cu. m.
i. Az elszállított, szénhidrogénnel szennyezett talaj mennyisége: 8.800 m3 ii. A szénhidrogénnel szennyezett talajvíz megtisztított mennyisége: 760 m3
EXECUTION DATA:
KIVITELEZÉS JELLEMZÔ ADATAI:
s. Demolished level (total) 27,210 sqm t. Demolished building structure 22,000 cu. m. u. Excavation work:47,500 cu. m. v. Maximum daily excavation work:1,500 cu. m. w. Average number of transportation vehicles in one week: 27 pieces x. Weekly average of machines:22 pieces y. Quantity of built-in concrete 16,500 cu. m. z. Reinforcements used825 tons aa. Built-in steel structures 1,100 tons bb. Length of pipes within the buildings: 75 km cc. Length of electric conduits within the buildings: 250 km dd. Ceramic paving: 7,200 sqm ee. Parquet: 3,200 sqm ff. Stone-surfacing: 6,400 sqm gg. Partition walls: 3,200 sqm hh. Counter-ceiling: 7,000 sqm
s. t. u. v. w. x. y. z. aa. bb. cc. dd. ee. ff. gg. hh.
Tusnad 2005
Baia Mare
Elbontott szintterület (bruttó) 27.210 m2 Elbontott épületszerkezet 22.000 m3 Földmunka mennyisége: 47.500 m3 Napi földmunka maximuma: 1.500 m3 Szállítójármûvek heti átlag száma: 27 db Munkagépek heti átlag száma: 22 db Beépített beton mennyisége 16.500 m3 Felhasznált betonacél 825 tonna Beépített acélszerkezet 1.100 tonna Épületen belüli csôvezetékek hossza: 75 km Épületen belüli elektromos vezetékek hossza: 250 km Beépített kerámia burkolat: 7.200 m2 Beépített ipari parketta: 3.200 m2 Beépített kôszônyeg burkolat: 6.400 m2 Beépített válaszfal: 3.200 m2 Beépített álmennyezet: 7.000 m2
DESIGNERS / TERVEZÔK GENERAL DESIGNER / GENERÁLTERVEZÔ:\ CÉH Tervezô, Beruházó és Fôvállalkozó Rt., 1112 Budapest, Dió utca 3-5. Designers of building "B" / „B” épület tervezôi: Wéber József leading architect designer, owner of the Ybl prize and colleagues / Ybl-díjas építész vezetô tervezô és munkatársai Tóth Péter architect designer / építész tervezô Stein Zoltán architect designer / építész tervezô Heppes Miklós leading interior designer and his colleagues / belsôépítész vezetô tervezô és munkatársai: Lente András leading interior designer / belsôépítész vezetô tervezô Hegedûs Attila interior designer / belsôépítész tervezô Vizler Barna
leading structure designer / statikus vezetô tervezô
Kádár Gergely
structure designer and kis colleagues / statikus tervezô és munkatársai
Dr. Orosz Sándor
leaading structure designer / statikus vezetô tervezô
Pintér Tibor
leading structure designer / statikus vezetô tervezô
Sárvári Zoltán
leading interior utilities designer and his colleagues / épületgépész vezetô tervezô és munkatársai
Sápi János
leading electric installations designer and his colleagues / elektromos vezetô tervezô és munkatársai:
Lisai Lajosné
electric installations designer / elektromos tervezô
Lénárt Attila
electric installations designer / elektromos tervezô
Mészáros János
leading designer for fire prevention / tûzvédelmi vezetô tervezô
Designers of Building "C" / „C” épület tervezôi: Wéber József
leading architect designer, owner of the Ybl prize and colleagues / Ybl-díjas építész vezetô tervezô és munkatársai
Tóth Péter
architect designer / építész tervezô
Stein Zoltán
architect designer / építész tervezô
Szekér Ferenc
leading interior designer and his colleagues / belsôépítész vezetô tervezô és munkatársai
Liptovszky Gábor
leading structure designer and colleagues / statikus vezetô tervezô
Dr. Németh Géza
leading structure designer / statikus vezetô tervezô
Szabóné Fischer Zsuzsa
leading structure designer / statikus vezetô tervezô
Sárvári Zoltán
leading interior utilities designer and his colleagues / épületgépész vezetô tervezô és munkatársai
Sápi János
leading electric installations designer and his colleagues / elektromos vezetô tervezô és munkatársai
Lisai Lajosné
electric installations designer / elektromos tervezô
Klézli Noémi
electric installations designer / elektromos tervezô
Palainé Straub Ágnes
kitchen technology leading designer / konyhatechnológus vezetô tervezô
Józsa Gusztáv
sound insulation leading designer / akusztikus vezetô tervezô
Mészáros János
leading designer for fire prevention / tûzvédelmi vezetô tervezô
Designers of the "C2" deep-level garage / „C2” mélygarázs tervezôi: Bozsó Annamária
leading architect designer and her colleague / építész vezetô tervezô és munkatársa:
Nedelykov Ákos
leading architect designer / építész vezetô tervezô
Liptovszky Gábor
leading structure designer / statikus vezetô tervezô
Dr. Németh Géza
leading structure designer and his colleagues / statikus vezetô tervezô
Takács Gyula
épületgépész vezetô tervezô / leading interior utilities designer
Ágoston István
épületgépész tervezô / interior utilities designer
Sápi János
elektromos vezetô tervezô / leading electric installations designer
Lénárt Attila
elektromos tervezô / electric installations designer
Rödönyi Károly
technológus vezetô tervezô / leading technologist designer
Scharbert Gyula
sprinkler tervezô / sprinkler designer
Mészáros János
tûzvédelmi vezetô tervezô / leading designer for fire prevention
"D" épület tervezôi / Designers of building "D": Benczúr László
Ybl-díjas építész vezetô tervezô / architect leading designer, owner of the Ybl prize
Schmidt Péter
építész tervezô és munkatársai / architect designer and his colleagues
Heppes Miklós
belsôépítész vezetô tervezô és munkatársai / leading interior designer and his colleagues:
Tusnad 2005
Baia Mare
Lente András
belsôépítész vezetô tervezô / leading interior designer
Hegedûs Attila
belsôépítész tervezô / interior designer
Bencze Zoltán
statikus vezetô tervezô / leading structure designer és munkatársai
Sárvári Zoltán
épületgépész vezetô tervezô és munkatársai / leading interior utilities designer and his colleagues
Sápi János
elektromos vezetô tervezô és munkatársai / leading electric installations designer and hus colleagues:
Lisai Lajosné
elektromos tervezô / electric installations designer
Klézli Noémi Mészáros János
elektromos tervezô / electric installations designer védelmi vezetô tervezô / leading designer for fire prevention
"E" épület tervezôi / Designers of building "E": Benczúr László
Ybl-díjas építész vezetô tervezô / architect leading designer, owner of the Ybl prize
Budaházi Eszter
építész tervezô és munkatársai / architect designer and her colleagues
Heppes Miklós
belsôépítész vezetô tervezô és munkatársai / leading interior designer and his colleagues:
Lente András
belsôépítész vezetô tervezô / leading interior designer
Hegedûs Attila
belsôépítész tervezô / interior designer
Bencze Zoltán
statikus vezetô tervezô / leading structure designer és munkatársai
Berzétei László
épületgépész vezetô tervezô és munkatársai / leading interior utilities designer and his colleagues
Tóth Zoltán
elektromos vezetô tervezô és munkatársa / leading electric installations designer and his colleagues:
Varró Tibor
elektromos tervezô / electric installations designer
Palainé Straub Ágnes
konyhatechnológus vezetô tervezô / kitchen technology leading designer
Józsa Gusztáv
akusztikus vezetô tervezô / sound insulation leading designer
Arató Éva
akusztikus vezetô tervezô / sound insulation leading designer
Mészáros János
tûzvédelmi vezetô tervezô / leading designer for fire prevention
"G" épület tervezôi / Designers of building "G": Takács Ákos
építész vezetô tervezô és munkatársai / leading architect designer and his colleagues
Bánszky Szabolcs
építész tervezô / architect designer
Fazekas Csaba
építész tervezô / architect designer
Müller Ferenc
építész tervezô / architect designer
Szekér Ferenc
belsôépítész vezetô tervezô és munkatársai / leading interior designer and his colleagues
Szabóné Fischer Zsuzsastatikus vezetô tervezô / leading structure designer Bógyi László Szabó László Palainé Straub Ágnes
épületgépész vezetô tervezô / leading interior utilities designer elektromos vezetô tervezô és munkatársai / leading electric installations designer and his colleagues konyhatechnológus vezetô tervezô / kitchen technology leading designer
Józsa Gusztáv
akusztikus vezetô tervezô / sound insulation leading designer
Mészáros János
tûzvédelmi vezetô tervezô / leading designer for fire prevention
Környezet tervezôi / Environment designers: Wallner Krisztina
tájépítész vezetô tervezô / leading landscape architect designer
Kovács Árpád
tájépítész tervezô / landscape architect designer
Lendvai Gábor
tájépítész tervezô / landscape architect designer
Muszbek Johanna
tájépítész tervezô / landscape architect designer
Pozsár Péter
tájépítész tervezô / landscape architect designer
Tihanyi Dominika
tájépítész tervezô / landscape architect designer
Bálint Pál
úttervezô / roadbuilding designer
\Hrustinszky György
külsô közmû tervezô / exterior utilities designer
\
Tusnad 2005
Baia Mare
MÁNYI István
The Rebirth of the Hungarian Museum of Natural Sciences in the Building of the Ludovika Academy A Magyar Természettudományi Múzeum újjászületése a Ludovika Akadémia épületében For the design of the Ludovika Academy Palatine József (Nádor) invited the leading architect of Pest and even the whole country, Mihály Pollack, and the Ludovika proved to be his second most valued public building in Pest – besides the National Museum. The execution – started in 1829 and accompanied by an intense curiosity of the public opinion – had lasted until the late 1830s. It is rather strange that in spite of the huge interest how few and hard to be discerned illustrations survived – or even were drawn - of the new sight. Because of the measures and importance of the building we may suppose that detailed plans had to be prepared, yet none of them is to be found nowadays in the library of the Embellishing Committee, an official guarding place of such documents. The Ludovika’s two-storey riding hall, one of the first examples of this building-type meant as a sporting facility, is the only surviving messenger of the closed interior riding practiced in the last century. The two-storey construction – which allowed for the movement of horses between the stables and the riding hall – must have been a true curiosity. Its credible conservation necessitated careful research and in spite of the general decay of the building all of the details can be recovered. A scientific documentation of the building complex was completed (Bor Ferenc, 1994).
A Ludovika Akadémia elsôrendû közintézmény tervezésére József nádor Pest, de mondhatjuk az ország egyik vezetô építészét, Pollack Mihályt kérte fel, akinek a Nemzeti Múzeum után ez a legjelentôsebb, ma is álló pesti középülete. Az 1829-ben megkezdett, a közvélemény kitüntetô figyelmével kísért építkezés a 30-as évek végéig tartott. Különös, hogy a nagy érdeklôdés ellenére mily kevés és alig érthetô ábrázolás maradt fenn az új látnivalóról. Az épület méreténél és jelentôségénél fogva feltehetôen részletes tervsorozata hivatalos ôrzési helyén, a Szépítô Bizottmány irattárában nem maradt meg. A Ludovika emeletes lovardája, mely e sportolást szolgáló épülettípusnak minden bizonnyal az elsô példája volt, mára egyedüli hímondója maradt a múlt századi – zárttéri lovaglás emlékének. A lovardák szokásos alaprajzi elrendezését mutató épület kétszintû kialakításával, a lovaknak az istállók és lovarda közötti, az épületen belüli mozgatásával igazi kuriózum lehetett. A hiteles helyreállítás gondos kutatómunkát igényelt. A fôépület általános leromlottsága ellenére minden részletében rekonstruálható. Az épületegyüttesrôl mûemléki tudományos dokumentáció készült (Bor Ferenc, 1994).
HOW MANY LIVES MAY A BUILDING HAVE?
HÁNY ÉLETE LEHET EGY ÉPÜLETNEK?
On the 17th of February 1992, at two-thirty in the afternoon, the phone was ringing. István Klinghammer, dean of ELTE University was calling me and said that they were discussing, if the former Ludovika Academy may be adapted to house the Hungarian Museum of Natural Sciences. His question whether it was possible for me to join the group sounded like a fight-call for the army horse. The thought was astonishing on first hearing. As I was approaching, the wonderful qualities of the place popped up, one after the other. The Orczy-garden, together with the most important building complex of Mihály Pollack, close to the
1992. február 17-én délután fél háromkor csöngött a telefon. Klinghammer István, az ELTE TTK dékánja keresett. Kávézás közben néhányan éppen arról beszélgettek, hogy alkalmassá tehetô-e a volt Ludovika Akadémia a Magyar Természettudományi Múzeum befogadására? Kérdése, hogy alkalmasint tudnék-e csatlakozni a társasághoz, úgy érintett, mint csatazaj a harci mént. A gondolat elsô hallásra lenyûgözô volt. Míg odaértem, fejemben a hely kitûnô adottságainak gondolatai ûzték egymást. Az Orczy-kert Pollack Mihály egyik legjelentôsebb épületegyüttesével, a Molnár Ferenc A Pál utcai fiúk jában
Tusnad 2005
Baia Mare
Botanical Garden depicted in Molnar Ferenc's novel, The Boys on Pál Street, and turned into a Natural Sciences Museum… My memory says that there were present, besides István Klinghammer, Kálmán Medzihradszky, leading professor of ELTE TTK Departmental Group of Chemistry, István Matskási, principal director of the Museum of Natural Sciences, Sándor Bodó, main departmental head of the ministry and László Cseresnyés, the main director of ELTE - but perhaps some of them are edited into these time images due to later meetings and accelerated events. As a matter of fact, I do not know by this day to whom the idea pertained, but without doubt they should be the sought in the Klinghammer-Matskási entourage. The reason of my being ringed up was my participation in projecting the Lágymányos Building of ELTE University, thus I had daily contact with the mentioned persons. In this period we also worked together on the reviving of Pannónia Hotel – Rákóczi Street 5, an ELTE building today – and we were designinng the working drawings of the "Botanical Garden" palm house, another territory of ELTE. That is, we were there. The former Ludovika Academy building was being occupied by the departments and the Technical Direction of ELTE TTK, within not exactly suitable technical conditions, while the Lágymányos development was being aimed at creating a new and modern basis for the Natural Sciences Faculty (TTK). *
megörökített Füvészkert szomszédságában, mint Természettudományi Múzeum… Emlékezetem szerint Klinghammer Istvánon kívül bizonyosan jelen volt Medzihradszky Kálmán, az ELTE TTK Kémia Tanszékcsoport vezetô professzora, Matskási István, a Természettudományi Múzeum fôigazgatója, Bodó Sándor minisztériumi fôosztályvezetô és Cseresznyés László, az ELTE fôigazgatója, de lehet, hogy némelyiküket a felgyorsult események késôbbi találkozásai montírozzák az idôképbe. Máig sem tudom, hogy ki volt az ötletgazda, de nem tévedhetek nagyot, ha a szerzôt a Klinghammer–Matskási körben vagy környezetében keresem. Én úgy kerültem telefonvégre, hogy az ELTE lágymányosi épületeinek tervezése kapcsán szinte mindennapos kapcsolatban voltam az érintettekkel, de ezidôtájt dolgoztunk a volt Pannónia Szálló újraélesztésén – Rákóczi út 5., ma ELTE épület – , és ekkor fejeztük be a „füvészkerti” pálmaház rekonstrukciójának kiviteli tervezését, mely szintén az ELTE territóriuma. * Témánál voltunk. A volt Ludovika Akadémia épületét az ELTE TTK tanszékei és Mûszaki Igazgatósága lakták, nem éppen optimális technikai feltételek mellett, a lágymányosi fejlesztés pedig éppen a TTK új, korszerû bázisának megteremtését célozta Az alapgondolat elsô köre itt zárult. Aktuálisnak tûnt a majdan felszabaduló mûemlék-épületegyüttes méltó funkciójának keresése.
The first round of the initial idea finished here and it seemed timely to look for a worthy function as far as the historic building complex to be emptied was concerned. Relieving the building of the National Museum by moving the Mineral Collection appeared only in the second round. Yet it was being rushed on the level of decisions by the new historical exhibition to be organized on the occasion of the millennial anniversary. There was a new discussion on the 18th of February, and on the 19th it became clear that I had to prepare a presentation - with reference to the basic functions – as a decision was following. It had to be analysed whether the Natural Sciences Museum –which was partly functioning in the National Museum's building as well as on different points of the city – could be housed in a first class listed building complex if all its organizations and collections were being drawn together. If the answer was yes, what should be the pace and what corrections need to be made?
A második körben késôbb körvonalazódott a Nemzeti Múzeum épületének tehermentesítése az Ásványtár kiköltöztetésével. Annak helyén az új történeti kiállítás millecentenáriumi rendezése, mint feszítô ék mûködött a döntési sorban. Február 18-án újabb megbeszélés volt, majd 19-én rögzült, hogy döntés-elôkészítésre néhány napon belül vizsgálati anyagot kell készítenem az alapfunkciók meghatározásával. Vizsgálni kellett, hogy a részben a Nemzeti Múzeum épületében és a város több pontján szétszórtan mûködô Természettudományi Múzeum – szervezeteinek és gyûjteményeinek összevonásával – elhelyezhetô-e az elsôrangú mûemlékegyüttesben? Ha igen, milyen bôvítésekkel és milyen ütemezéssel? Világosan látszott, hogy a megvalósítás legalább egy évtizedre széthúzva, csak több ütemben képzelhetô el. Elsônek a Nemzeti Múzeum épületében levô részlegek
Tusnad 2005
Baia Mare
It was clear that the realization had to stretch at least over a decade and it also needed several phases. First the section currently housed in the National Museum may be re-housed in parallel with the portioned emptying of the Ludovika Academy building and the new buildings in - under the level of the yard. Such a decision radically influenced the ELTE sections functioning there, consequently the total reconstruction had to consider the re-location of the ELTE Natural Sciences Faculty – by an intensive continuation of the ELTE Lágymányos developments and by the coordination of the new structures in the Trefortgarden as well. We immediately began discussions with the Budapest Historic Building Conservation Authority - in a narrative mode, confidentially and without plans, as required by the situation. The Authority gave its full consent. Quick data-collection referring to building history, the state of the building, the characteristics of the soil and of the water. I had to procure state-assessments make functional and specialty consultations, processing. That was the rank of our steps to discover the task itself. We published the album referring to the placement of the Natural Sciences Museum on the 25 th of February 1992. All that has been happening since is a rare experience of the architect: a frenzy of events, the planned tasks and the fulfillment of conditions according to the previous order, with only minor corrections occurring. The concept plan was met with accord. The new consultations lead to the Riding Ground – later Alfa Cinema – also becoming part of the reconstruction program, unfortunately made actual by the total burn out of the building on the 28 th-29th of March 1992. The burnt building was in a deplorable state. The roof, the windows and doors, and its interior architecture were totally missing, with only some of the outer parts standing. Walls were cracked, its main stone cornice nearly totally deteriorated, thus the walls and the cellar vault covered with fire remnants were unprotected against rain or frost. On the 2 nd of March 1993, in Sárospatak, decisions were taken regarding the tasks to come. Considering all the interested parts, duties were defined in time schedule: – by refurbishing the attic of the Szerb street building, the ELTE Technical Direction can be moved there – the premises of the Plant Taxonomy Department must be relocated within the Ludovika building
kiváltására kerülhet sor a volt Ludovika Akadémia épületének szakaszos kiürítése, és az udvar szintje alatti új beépítés eszközeivel. Egy ilyen döntés alapvetôen érinti az ELTE itt mûködô egységeit. Vagyis az itteni teljes rekonstrukció feltételezi az ELTE TTK elhelyezésének megoldását, meghatározó módon az ELTE lágymányosi fejlesztéseinek intenzív folytatásával és ennek eredményeképpen a Trefort-kerti átrendezôdések koordinálásával. Azonnali egyeztetést kezdtünk a Budapesti Mûemléki Felügyelôséggel, a helyzetbôl adódóan elbeszélô modorban, tervek nélkül, bizalomra alapozva. Az eredmény fenntartás nélküli támogatás volt. Gyors adatgyûjtés az építéstörténetrôl, az épület állapotáról, a talajadottságokra és talajvízre vonatkozóan. Állapottervek beszerzése, funkcionális és szakági konzultációk, feldolgozás. Így következtek a feladat megismerésére irányuló lépéseink. Az albumot a Természettudományi Múzeum elhelyezésének vizsgálatáról 1992. február 25-én adtuk ki. Ami akkor és azóta történt, ritka élmény az építész számára: az események sodra, a kitûzött feladatok és vállalások teljesülése, elôre elhatározott rend szerint, idôben, csupán kisebb korrekciókkal. A koncepcióterv kedvezô fogadtatásra talált. Újabb konzultációk során a program részévé vált a Lovarda – késôbbi Alfa mozi – rekonstrukciója, amelynek hamarosan sajnálatos aktualitást adott az épület teljes kiégése (1992. március 28-29.). A kiégett épület nagyon rossz állapotban volt. Tetôzete, fa nyílászárói, belsô architektúrája teljesen hiányzott, külseje ôrzött csupán részleteket. A falak több helyen megrepedtek, kô fôpárkánya többségében megsemmisült, a falakat, az égési törmelékkel borított pinceboltozatot a csapadéktól, az átfagyástól semmi sem védte. 1993. március 2-án Sárospatakon a késôbbi feladatokat illetôen meghatározó döntések születtek. Valamennyi érintett részvételével idôrendben tûzték ki a feladatokat: – a Szerb utcai épület tetôtérbeépítésével biztosítani kell az ELTE Mûszaki Igazgatóság kiköltözését; – a Ludovikán belül át kell helyezni a Növényrendszertani Tanszék helyiségeit;
Tusnad 2005
Baia Mare
– the space freed on the ground floor of Ludovika might serve as a room for the Mineral Collection of the Natural Sciences Museum – the Mineral Collection can be moved away from the National Museum's building – a new historical exhibition might take place in the emptied wing of the National Museum. We scheduled the design and execution tasks related to these. It seemed idealistic and totally real at the same time. There were skeptical voices, but in June 1993 we issued the conception plan enlarged with the Riding Hall, and in June 1994 the newest documentation – this contained the final programming, with detailed financial and execution schedules. During this period we examined the whole building complex and set on the process of scientific documentation and structureanalysis. And all this without contractual arrangements, believing that by advance design we are to win more space, time and possibilities, as far as the realization was concerned.
– a Ludovika földszintjén felszabadult területen el kell helyezni a Természettudományi Múzeum Ásványtárát; – az Ásványtár kiköltözése a Nemzeti Múzeum épületébôl; – új történeti kiállítás a Nemzeti Múzeum szabaddá tett épületszárnyában. Mindehhez kapcsolódóan ütemeztük a tervezési és megvalósítási feladatokat. Az egész egyszerre tûnt idealisztikusnak és valóságosnak. Voltak szkeptikus hangok is, de 1993. júniusában kiadtuk a Lovardával bôvített koncepciótervet, majd 1994 júniusában az újabb dokumentációban már a végleges program szerepelt részletes pénzügyi és építési ütemezéssel. Ez idô alatt teljes részletességgel felmértük az egész épületegyüttest, beindítottuk a tudományos dokumentálás és a szerkezetvizsgálat folyamatát. Mindezt szerzôdéses kapcsolat nélkül, azzal a hittel, hogy az elôrehozott tervezôi teljesítéssel teret, idôt és esélyt nyerünk a megvalósítás számára.
In the meantime I experienced the time-consuming, yet pulsing process of reconstructing the University of Economics, the Eötvös Lóránd University of Sciences and the Museum of Fine Arts. I began to understand the bare and real nature of these processes, that is their not leaving room for delay and inattention. This knowledge proved to be very useful. The tasks became one's personal endeavours. In September 1994 the Parliament repealed the EXPO-law. The insecurity increased, we got out of rhythm. Meanwhile we intensely worked on the realization plan of the ELTE building in Lágymányos and that reared from the ground according to the portioned plan services, keeping alive the faith that the reconstruction of the Natural Sciences Museum is an organic part of this process. The next note in my diary is the 7 th of November 1994. The events ran off explosively: between the 7th and 14th of November 1993 the program was refreshed and finalized. The deadline set for fulfilling the planning: the 23rd of December. The tasks were numerous, and this confirmed the importance and need for having accepted the pre-accomplishments: – building permit design, including a processed version of the whole conservation program – building permit design and tender-documentation for
Közben átéltem a Közgazdaságtudományi Egyetem, az Eötvös Loránd Tudományegyetem és a Szépmûvészeti Múzeum rekonstrukciójának idôben elhúzódó, de pulzáló folyamatát. Kezdtem megismerni e folyamatok csontig ható természetét teljes valóságukban, melyek nem hagynak teret a késlekedésnek a figyelmetlenségnek. Ezen ismeretek hasznosnak bizonyultak. A feladatok személyes üggyé váltak. 1994 szeptemberében a parlament hatályon kívül helyezte az EXPO-törvényt. Bizonytalanság, ritmuszavar. Közben teljes intenzitással dolgoztunk a lágymányosi ELTEépület kiviteli tervén, amely szakaszos tervszolgáltatással kinôtt a földbôl, épült, életben tartva a reményt, hogy ennek a folyamatnak már elválaszthatatlan része a Természettudományi Múzeum rekonstrukciója is. Naptáramban újabb bejegyzés 1994. november 7-én található. A szendergésbôl robbanásszerûen gyorsultak fel az események. 1994. november 7–14. között megtörtént a program felfrissítése és véglegesítése. A tervezés teljesítési határideje december 23. A feladat nem kevés. Most igazolódik az elôteljesítések szükségessége és vállalásának fontossága: – elvi építési engedélyezési terv a teljes rekonstrukciós
Tusnad 2005
Baia Mare
realization with regard to the new Mineral Collection – building licence plan and tender-documentation and working drawings of the burnt Riding Hall – working drawings for moving the Plant Taxonomy Department. And all this in a month's time. By the end of November, the special joineries (for historic buildings) production must start. Preparations happen in one meter high snow. Disputes about fundamental and unimportant questions, the latter mentioning refers to the essence of reality. The works of the Mineral Collection - following the necessary preparations and calling for tenders – start on the 2 nd of February 1995. In October, the same year, technical delivering occurs in several steps. The serious organizational, mineral-packing and transporting activities end up with the Mineral Collection opening in a new setting in January 1996. Covered to some extent by this dynamism the execution works of the Riding Hall are being slowed down.
program feldolgozásával; – építési engedélyezési terv és kivitelezésre alkalmas tenderdokumentáció az Ásványtár kialakítására; – építési engedélyezési terv és kivitelezésre alkalmas tenderdokumentáció a kiégett Lovarda építési munkáihoz; – kiviteli terv a Növényrendszertani Tanszék áthelyezéséhez. Mindez egy hónap alatt. Elôcsapásként november végén indul a mûemléki nyílászárók gyártása. Méteres hóban folynak az elôkészületek. Viták lényeges és lényegtelen kérdésekrôl. (Ez utóbbi megállapítás a valóság sûrítményeként értelmezendô.) Az Ásványtár építési munkái a szükséges elôkészítést, versenyeztetést követôen 1995. február 2-án indulnak. 1995 októberében több lépcsôben megtörténik a mûszaki átadás. A komoly szervezési, ásványcsomagolási és szállítási munkákat követôen 1996 januárjában új helyén kezd az Ásványtár.
The executions work becomes bankrupt and the former contractor is replaced by the ARCHITEKTON SC, and a new impulse emerges in May. Now, when* I am writing these lines, the finishing works are scheduled. Fitting up the exhibitions began and we started to plan the next stage.
E lendület által részben fedetten lelassulnak a Lovarda épület munkálatai. Az építési vállalkozás csôdbe jut. A korábbi kivitelezôtôl az Architekton Rt. veszi át az építést, májustól új lendületet kap a munka. Mikor* e sorokat írom, az épületen a befejezô munkák vannak napirenden. Elkezdôdött a kiállítások berendezése, és megkezdtük a következô ütem tervezését.
A DRAFT OF THE MAIN QUESTIONS OF DESIGN
A TERVEZÉS ALAPKÉRDÉSEINEK VÁZLATA
We have to point out those qualities that may stay at the basis of giving new life to an unworthily used and decayed building complex, by inhaling a new content, fully differing from the original aim, thus promising a real and new life. These answers lay in the original architectural qualities and in the environmental factors, in spite of the fact that the main building and the Riding Hall of the Ludoviceum in them are only limitedly suitable to house a museum with great audience-traffic and specific functions. Interventions that might have harmed elements of architectural history were of course out of question. Those areas that had to conform to exigencies of audiencetraffic, cultural agency, exhibitions needing great and continuous space and to needs of storing were dealt with on the same levels as the original values, generally by buildings in under spatial limits. Previous architectural periods usually considered total re–building or adding new wings, a practice which harmed – in differing degrees - the original work, and resulting in many cases
Megválaszolandó még, hogy melyek azok az adottságok, amelyek egy méltatlanul elhasznált és pusztulásra ítélt építészeti együttest új életre hívhatnak, az eredeti rendeltetéstôl igencsak különbözô tartalom inhalálásával, egy valóságos új élet ígéretével. Ezek a válaszok az eredeti építészeti minôségben és a környezeti tényezôkben lelhetôk fel, annak ellenére, hogy önmagában a Ludoviceum fôépülete és Lovardája az eredeti értékek sérelme nélkül csak korlátozottan alkalmas nagy közönségforgalmú, egyedi funkciókat hordozó múzeumi lét befogadására. Építészeti-történeti érdekeket sértô beavatkozásról nem is lehetett szó. Azokat a tércsoportokat, amelyek a közönségforgalom, közönségszolgálat, a nagy összefüggô tereket igénylô kiállításrendezés és raktározás követelményrendszerének kell megfeleljenek, az eredeti értékek mellé rendeltük, nagyrészt térszín alatti beépítések formájában. A korábbi nagy építészeti
Tusnad 2005
Baia Mare
in compulsory solutions hidden behind folding facades. New building techniques made it possible that development be fulfilled by creating new and suitable spaces joining the already existing buildings, under spatial limits. In our case, we proposed the "internal" functions of the museum's life in the historic building full of exceptional values. These were added to by the spatial limit joints according to the demands of the new content: the main space of the Riding Hall building became an authentic exhibition space thanks to the internal galleries. The additional functions were moved to the three-nave, vaulted space-system of the former stables on the cellar-level, and this proved to be a very generous and receptive "housing". The whole building-process resulted in the audience-traffic axis, this stringing the exhibition spaces under the yard and covered with glass, making a connection towards the cellar level of the Riding Hall in a way that allows for traversing the axis from the northern entrance of the Riding Hall also. For the future, this entrance makes possible the independent approach of the clubmeetings, study circles, nature lovers' events and offices housed here. The traffic transverse-axis connects the museum directly with the Orczy-garden, where a lot of open-air activities happen. Offices and storage functions of the museum may be approached from the actual principal entrance of the main building, while the audience traffic is concentrated on the new spaces built in under the space limit between the two buildings. The probable date for finishing the work, according to our actual information, is the year 2002. It is by then that the new content will develop, leading to the worthy valuing of the Pollack oeuvre, in spite of its flaws. Based on the previous pages we may be sure that during this cconservation historical value and the need for home of an important institution met, as suggested by the spirituality of the place itself.
korszakok általános gyakorlata a teljes átépítés vagy új szárnyakkal való bôvítés volt, amely gyakorlat különbözô mértékben ugyan, de az eredeti alkotás teljességét sértette, sok esetben paraván homlokzat mögötti kényszermegoldásokat eredményezve. Az új építési technikák tették lehetôvé, hogy a bôvítésre a meglévô épületekhez térszín alatt kapcsolódó, a tényleges igények szerint méretezett új terek képzésével kerüljön sor. Esetünkben a múzeumi mûködés "belsô" funkcióit a nagyszerû értékrendet hordozó történelmi épületbe telepítettük. Térszín alatti kapcsolatokkal ezek egészültek ki az új tartalom igényei szerint. A Lovarda-épület nagytere belsô galériázással autentikus kiállítási tér. A pinceszinten lévô volt istállók háromhajós boltozott térrendszere rugalmas befogadónak bizonyult az idetelepített kiegészítô funkciók számára. A teljes kiépítéssel alakul ki az a közönségforgalmi tengely, amely felfûzi az üvegtetôkkel fedett, udvar alatti kiállítótereket, kapcsolatot teremt a Lovarda pinceszintjével, úgy, hogy ez a fôtengely a Lovarda északi bejáratától is átjárhatóvá válik. Ez a bejárat távlatilag is biztosítja a szakkörök, klubfoglalkozások, természetbúvár rendezvények és az ide telepített hivatali helyiségek önálló megközelítését. A forgalmi kereszttengely pedig közvetlen kapcsolatot teremt a szabadtéri programokkal gazdagított Orczy-kert felé. A múzeum hivatali és tári funkciói a fôépület jelenlegi fôbejáratán át közelíthetôk meg, míg a közönségforgalom a két épület közötti térszín alatti új terekre koncentrálódik. A befejezés várható idôpontja 2002 körül volt valószínûsíthetô. Eddig az idôpontig fejlôdik fel az új tartalom, csökken és szûnik meg fokozatosan a Pollack-életmûhöz méltatlan alulértékeltség, annak minden deformációjával együtt. Az itt leírtak okán lehetünk bizonyosak abban, hogy a rekonstrukció folyamán a hely szelleméhez méltón talál egymásra a történeti érték és egy jelentôs intézmény otthonkeresése.
This introductory text is identical with my review published in Nr. 4 / 1996 of Hungarian Museums (Magyar Múzeumok), with the slight change that the finishing programmed then for 2002 is now meant for year 2010. The decisional preparation works of the reconstruction may be summarized thus. As for the realizations, I will deal with that in my presentation.
A bejelentkezô szöveg azonos a Magyar Múzeumok 1996/4 számában megjelent ismertetômmel, változás mindössze annyi, hogy az akkor 2002-re programozott befejezés 2010 évre módosult. Ennyiben foglalhatók össze a rekonstrukció döntéshozatali elôkészítési munkái. A megvalósításról az elôadásomban kívánok beszámolni.
* Actually, "Ludovika" had been tought about earlier as well, but no one
* Valójában a "Ludovika" gondolata már évekkel azelôtt fölmerült, de mint
took it seriously, being an idea seemingly impossible to fulfill. A ministerial
megvalósíthatatlan ötlettel, komolyan senki sem foglalkozott vele. Arról
decision taken in 1987 referred to the parts of HMNS housed in the National
született 1987-ben miniszteri döntés, hogy a MTM Nemzeti Múzeumban
Museum: these had to change place with the Contemporary Historical
lévô részei cseréljenek helyet a Budavári Palota "A" épületében lévô
Museum until then presented in the "A" building of Budavári Palace. The
Legújabbkori Történeti Múzeummal. Ezt a helyzetet változtatta meg a
cultural government created a new situation in the autumn of 1990 when
mûvelôdési kormányzat 1990 ôszén meghozott döntése, miszerint a
they decided to put the Ludwig Collection in the mentioned "A" building of
Ludwig-gyûjteményt helyezik el a palota "A" épületében. Ezt követôen a
the palace. After this, Lóránd Bereczki, István Timkó and István Matskási
Nemzeti Galériában Bereczki Lóránd, Timkó István és Matskási István
met in the National Gallery to find a solution for the housing of HMNS, on
között zajlott le egy megbeszélés, megoldást keresve az MTM elhelyezésére.
this occasion the Ludoviceum surfaced again. Realizing and fulfilling the
Ekkor került újra elôtérbe a Ludoviceum. A gondolat realizálása és
idea really happened in the circle suggested by the author. (Editor 's
konkretizálása már valóban abban a körben történt, amit a szerzô sejtet.
mention).
(A szerkesztô megjegyzése)
Tusnad 2005
Baia Mare
BENDE Csaba From The Ludoviceum to The Hungarian Museum of Natural Sciences A Ludovíceumtól a Magyar Természettudományi Múzeumig
The newest object of the Hungarian Museum of Natural Sciences has been finished and it is to open on the 9 th of September: this has been built on the area between the Riding Hall and the main building, and it consists of a new main entrance, a lobby and a distributing hall formed under the field level, as well as a new exposition space below the court of the main building. These recent building parts are totally new ones, thus they significantly increase the total surface and the value of the building complex.
Elkészült és 2004. szeptember 9-én nyílt meg a Magyar Természettudományi Múzeum legújabb objektuma, az egykori Lovarda és a fôépület közötti területen épült, terepszint alatt kialakított fôbejárat, fogadó és elosztócsarnok, valamint a fôépület udvara alatti új kiállítótér. Az épületrészek legfontosabb jellemzôje, hogy teljesen új létesítmények, s mint ilyenek az épületegyüttes összterületét és értékét jelentôs mértékben növelik.
A SHORT HISTORY OF THE BUILDING AND THE INSTITUTION
AZ ÉPÜLET ÉS AZ INTÉZMÉNY TÖRTÉNETE DIÓHÉJBAN
The 1790 diet denominated a committee to plan the training of Hungarian army officers. However, the de jure founding of the Hungarian Army Academy did not happen until 18 years later, in 1808. The third wife of Emperor Franz the 1st, Maria Ludovika, offered a donation of 50.000 HUF out of her coronation honorarium for the building process itself. It is this donation that has been acknowledged by the country with the name given to the future Academy, otherwise supported materially by a great number of aristocratic families and the Hungarian counties as well. The greatest particular donations were offered by Palatine József, Albert, the Saxon Prince, count János Buttler, József Jekefalussy, count István Illésházy, count Károly Batthyányi and István Marczibányi. (In spite of the fact that count János Buttler alone gave a huge foundation of 126.000 HUF, loyalty towards the ruling house made the gesture of naming the institution after Maria Ludovika, a gesture otherwise never to be honoured.)
Az 1790. évi országgyûlés bizottságot jelölt ki a magyar katonatisztképzés tervének kidolgozására. A Magyar Hadi Akadémia de jure létrehozására ennek ellenére csak 18 évvel késôbb, 1808-ban került sor. I. Ferenc császár harmadik felesége, Mária Ludovika koronázási tiszteletdíjából 50 000 Ft adományt tett az építkezés javára. Ezt az adományt ismerte el az ország az akadémia hivatalos elnevezésével. Az akadémia létrehozásához számos fôúri család és a magyar vármegyék adakozással járultak hozzá. A legnagyobb egyéni adakozók József nádor, Albert szász herceg, gróf Buttler János, Jekelfalussy József, gróf Illésházy István, gróf Batthyány Károly és Marczibányi István voltak. (Bár gróf Buttler János egymaga hatalmas, 126 000 Ft-os alapítványt tett, az uralkodóház iránti – gesztusnak szánt – lojalitás Mária Ludovikáról nevezte el az intézményt. Mint látni fogjuk: a gesztust soha nem honorálták.)
The Orczy family gave the land (the Orczy Garden) to the future. Hungarian Army Academy for a symbolical sum and the Festetics family as well as the city of Pest also offered smaller lots of land. Plans of the building were made by Mihaly Pollack, and the building on the mentioned new lot was being prepared in 1829, Palatine József laid the foundation stone in 1831. Although the buildings were nearly ready in 1835 (the Riding Hall was built in the mid 1830s), the finishing lasted until 1839. During the great flood in 1838 it was there that several collections of the Hungarian National Museum were stored, as well as homeless people housed. The dimensions of the building are well shown by the ten thousand refugees who lived in it – for a short time however – during the catastrophe. The official Austrian opinion did not hurry the institution's being started; moreover it aimed at blocking its creation – because of political reasons, of course… The 1832-36 diet did not accept for example that the language of instruction should be the Hungarian one. Ironically enough, the training in the new buildings was to start in the spring of 1848: Lázár Mészáros, the defense ministry of the Revolution made preparations to open the institution, nine years after the buildings' being ready and twenty years after the first steps had been made. Yet, instead of the opening, it was Windishgraetz who entered Pest. The tormented fate of the building meant that training was to
A telket az Orczy-család (Orczy-kert) szinte névleges összegért bocsátotta az építendô Magyar Hadi Akadémia rendelkezésére, amelyhez a Festetics–család és Pest városa is adott kisebb területeket. Az épület terveit Pollack Mihály készítette, az építkezés elôkészítését a már említett új telken 1829-ben kezdték meg. Az alapkövet József nádor helyezte el 1831-ben. Bár az épületek (a Lovarda a 30-as évek közepén épült) már 1835-ben csaknem készen voltak, a teljes befejezés még sokáig (1839) váratott magára. Az 1838. évi nagy árvíz idején a fôépület fogadta be a magyar Nemzeti Múzeum különbözô helyeken ôrzött gyûjteményeit és a hajlék nélkül maradt embereket. Az épület méreteire jellemzô, hogy az árvíz idején – rövid ideig – tízezer (!) menekült lakott falai között. A hivatalos osztrák álláspont – természetesen politikai meggondolásból – nem sürgette az intézmény mûködésének megkezdését, sôt, létrejöttének megakadályozására törekedett… Az 1832–36 évi országgyûlés nem fogadta el például, hogy a tanítás hivatalos nyelve a magyar legyen. Az épületben végül – a sors iróniája talán – 1848 tavaszán kezdôdött volna meg a tanítás. A szabadságharc honvédelmi minisztere, Mészáros Lázár készült az intézmény megnyitására – gondoljuk el, az elsô kapavágás után csaknem 20, az épület elkészülte után 9 (!) esztendô telt el. A megnyitás helyett azonban Windischgraetz vonult be Pestre. A hányatott sorsú épületben csak a kiegyezés után 5 évvel,
Tusnad 2005
Baia Mare
begin there only on the 21st of November 1872, five years after the compromise of 1867. On the basis of the law XVI.t.c. from 1872 work could be started, while the official name of the institution became the Ludovika Academy of the Hungarian Royal Army. However, most of the founders, donors and the architect himself did not live to see this. The rank of the academy increased in 1897, when it was advanced an equal of the Wiener–Neustadt army academy. The army officers who acquired their training at the academy entered into the permanent staff of the Hungarian Army, and they also had the possibility to serve in the common army of the Austro-Hungarian monarchy. The institution that functioned in the interwar period as a site for the training of the Hungarian army forces became a victim of the new political system after the Second World War: thus the institution with a troubled start was meant to function only for the three-quarters of a century. In the period 1945-1958 the Ludovika building housed the so-called Kossuth Academy, after that several departments of the Natural Sciences Faculty, ELTE University. It was only in the last decade that its rebirth may have begun, when – due to a government decision – it was given to the Hungarian Museum of Natural Sciences, thus the creation of one of the biggest and most well equipped museums in the country could be planned. As mentioned before, the main building of the Ludoviceum was used for very different purposes by the new political power after the World War II. It was obvious that – in spite of the different political orientation – the former army training institute, with its park, stables, riding halls and outbuildings could be best exploited according to its initial function. Therefore the Kossuth Academy functioned here between the years 1945–1956. After the year 1956 the possibility of using the building for army or political aims was totally abandoned, perhaps because of political reasons: the system thought it advisable to forget the name "Ludovika Academy", together with the concept of the army academy itself. There came the Eötvös Lóránd University as a new user, nevertheless with a most loose way of handling it. Many rooms were empty in the huge building; other rooms were rented, while the offices and the several departments were seemingly lost in the complex. The former Riding Hall – modified, however – was being used by the Metropolitan Cinema Enterprise, it was there that the Alfa Cinema functioned, and after its final closing it was burnt down. The park before the main building, once called Ludovika Garden, was renamed in 1948 as Square Nephadsereg (People's Army), and Square Béla Kun beginning with 1957. Its initial name – Ludovika Square – was regained after the 1989 changes. At the beginning of the 1990s a government decision was adopted with reference to the development of Eötvös Lóránd University, according to which the Natural Sciences institutions were to be housed in the new university quarter in Lágymányos, while the Humanities faculties were to be transferred from the central Piarist complex to the buildings of the Trefort Garden. The fact that teaching sites and university offices were removed from the Ludoviceum building made it possible to find a new function to the building. Yet it might have been logical and cheaper to move the Humanities sections from the Trefort Garden to Lágymányos , as some of the buildings in Trefort Garden were built originally for the Polytechnical University and
Tusnad 2005
Baia Mare
1872. november 21-én indult meg a tanítás. Az 1872 XVI-os törvénycikk alapján tehát megkezdôdhetett a munka, az intézmény hivatalos neve pedig Magyar Királyi Honvédségi Ludovíka Akadémia lett. A tervezô és az alapítók, adományozók zöme ezt azonban sajnos már nem érthette meg! Az Akadémia rangja 1897-ben nôtt: egyenrangú lett a bécsújhelyi (Wiener–Neustadt) katonai akadémiával. Az akadémiát végzett katonatisztek elsôsorban a honvédség állományába kerültek, ugyanakkor arra is módjuk nyílt, hogy a közös hadsereg tisztjeiként szolgáljanak. A két világháború között is a magyar katonatisztképzést szolgáló intézmény a második világháború utáni rendszerváltás áldozata lett, az oly nehezen létrejött intézmény – alig háromnegyed évszázados mûködés után – megszûnt. Az épületben 1945-58 között az ún. Kossuth Akadémia, majd az ELTE Természettudományi Karának néhány tanszéke mûködött. Az épület újjászületése csak a legutóbbi években kezdôdött meg: kormánydöntés értelmében a Magyar Természettudományi Múzeum kapta meg az épületeket, amelyekben megkezdôdött az egyik legnagyobb és legjobban felszerelt országos múzeumunk kialakítása. Mint azt már említettem, az egykori Ludovíceum fôépületét a II. világháborút követôen különbözô célokra vette igénybe a mindenkori hatalom. Az teljesen természetesnek látszott, hogy a katonai oktatási intézményt parkjával, istállóival, lovardáival, melléképületeivel – ha megváltozott politikai alapon is – az eredeti rendeltetésének megfelelôen lehet legjobban hasznosítani. 1945–56 között tehát itt mûködött a Kossuth Akadémia. 1956 után az épület katonai–politikai felhasználásáról végleg lemondtak, ennek fô oka biztosan politikai: a Ludovíka Akadémia nevet, ill. a katonai akadémia fogalmát a forradalom után a rendszer jobbnak látta elfelejteni. Az épületet tehát az Eötvös Loránd Tudományegyetem használta, meglehetôsen méltatlanul. A hatalmas épületben számos helyiség üresen állott, másokat bérbeadtak, az egyetem különbözô irodái és néhány tanszék szinte elvesztek az épületben. Az egykori lovardát – átalakítva – a Fôvárosi Mozgóképüzemi Vállalat használta, ebben mûködött a budapestiek által Alfa moziként ismert mûintézmény, amely néhány évvel végleges bezárása után leégett. A fôépület elôtti, egykor Ludovika-kertnek titulált parkot 1948-tól Néphadsereg térnek, 1957-tôl pedig Kun Béla térnek nevezték. A Ludovika tér jelenlegi nevét a rendszerváltás után kapta. A kilencvenes évek elején kormánydöntés született az Eötvös Loránd Tudományegyetem fejlesztésérôl. Ennek lényege, hogy a Lágymányoson épülô új egyetemi negyed fogadja be az ELTE Természettudományi Karának intézményeit, a Trefort-kert épületei pedig – a belvárosi piarista épületbôl végleg kiköltözô – bölcsészettudományi karoknak adjanak otthont. A Ludovíceumban elhelyezett oktatási részlegek és más egyetemi irodák kiköltözése az épületbôl tette lehetôvé, hogy az épületnek új funkciót találjanak. Más kérdés, hogy a Trefort-kert egykor mûegyetemnek szánt épületei a mai Mûegyetem megépülte után eleve a természettudományi karoknak adtak otthont, ahol a gyûjtemények, laboratóriumok elhelyezése, kialakítása, speciális feltételei adottak voltak. Logikus (és olcsó) megoldás lett volna a bölcsészeket költöztetni a Lágymányosra, és a
after the new Polytechnic building was finished, continued to house Natural Sciences faculties: this meant that the necessary special conditions – such as collections, laboratories – were already present. The presented great re–organization and re–location made it possible for the unworthily used buildings of the Ludoviceum and the Riding Hall, projected by Mihály Pollack, to acquire a new function: according to the government decision it would be a final housing to the Hungarian Museum of Natural Sciences – until then lacking an own building. I have to mention that the detailed renovation of the Hungarian National Museum also helped the case, as by this the emptied former rooms of the corenter Natural Sciences Museum could be employed towards the National Museum's aims. As we can see, a lucky order and co-existence of cultural government decisions led to the situation when – nearly after two hundred years – the Hungarian Natural Sciences Museum could hope to create its own and definitive home. The location plan was completed in 1992; according to this a building had to be constructed under the level of the area linking the Riding Hall and the main complex, for a suitable environment, as far as the Hungarian Museum of Natural Sciences was concerned. The Public Building Design SC. finished the theoretical building permit design in December 1994, with the title: Housing the Hungarian Museum of Natural Sciences in the former Ludovika building. The responsible projector of the concept was István Mányi, who scheduled the tasks and planned the renovation with an incredible caution. According to the program "The final aim was that all the sections of the Hungarian Museum of Natural Sciences acquire a final housing in the former Ludoviceum, worthy of their importance." As we will see, the scheduling and realization of the more than ten years old conception occurred correspondingly to the original plans – a phenomenon most rare in architecture and building history. The road was open before creating the final home of the Hungarian Museum of Natural Sciences, thanks to a lucky constellation of possibilities and wishes. The already mentioned pre-decision plan and the theoretical location plan got the approbation of the monumental committee; therefore the planning could be fully started. Planning tasks and scheduling were fixed in the conception also, so it was clear what should be the phases of the building process – lasting up to nowadays. In the first projecting phase the careful and most detailed survey of the building was completed, paying attention to and preparing detail–drawings of all the opening-closers, that is windows and doors, and the research tasks for the scientific monumental documentation were begun. The licence plan for the entire renovation of the building was also issued. Parallel to this, as time and moving were pressing, the placing and realization planning of the Mineral Collection had to be initiated as well. The first building part occupied by the HMNS – situated in the south-western wing, on the right side of the Ludoviceum ground floor – was completed and handed over in the autumn of 1995. The next task was to re-establish and accommodate – in view of the museum and exposition functions – the Riding Hall,
természettudományi karokat eredeti helyükön hagyni. Az ismertetett nagyszabású átszervezés és átrendezés tette lehetôvé, hogy a valóban méltatlanul használt, Pollack tervezte épületek: a Ludovíceum épülete és a lovarda együtt – egy másik kormánydöntés eredményeképpen – a saját épület nélkül mûködô Magyar Természettudományi Múzeum végleges otthonaként szolgáljon. Hozzá kell tennem, hogy a Magyar Nemzeti Múzeum meginduló nagy felújítása is segítette az ügyet: lehetôvé vált a Nemzeti Múzeum épületében társbérlôként mûködô Természettudományi Múzeum felszabaduló, megürülô helyiségeinek új hasznosítása, ezúttal a MNM fejlesztése érdekében. Mint láthatjuk, a kultúra érdekében tett kormánydöntések esetünkben szerencsés sorrendje és összekapcsolódása tette lehetôvé, hogy a Magyar Természettudományi Múzeumnak – csaknem két évszázad során elôször – reménye és lehetôsége nyílt saját, végleges otthonának megteremtésére. 1992-ben készült el az elhelyezési terv, amelynek értelmében a lovarda és a fôépület között összeköttetést teremtô szint alatti építmény létesítésével alakítható ki a Magyar Természettudományi Múzeum (MTM) épületegyüttese. 1994 decemberében készítette el a Középülettervezô Rt. az elvi építési engedélyezési tervet az alábbi címmel: A Magyar Természettudományi Múzeum elhelyezése a volt Ludovika épületében. A koncepció felelôs tervezôje Mányi István volt, aki – szinte hihetetlen elôrelátással – ütemezte a munkákat és adta meg a felújítás programját. A program szerint: „Az elérendô cél az, hogy a Magyar Természettudományi Múzeum valamennyi részlegével együtt a volt Ludovíceumban jelentôségének megfelelô végleges elhelyezést nyerjen.” Nos, mint látni fogjuk – az építészet és az építés–kivitelezés területén igen ritka módon – a több, mint tíz éves koncepció megvalósulása és ütemezése csaknem pontosan az eredeti elképzelések szerint valósult meg. A Magyar Természettudományi Múzeum végleges otthonának megteremtése elôtt tehát – a lehetôségek és a szándékok szerencsés találkozása révén – megnyílt az út. Az 1994 telén készült, a már említett döntés–elôkészítô tanulmány és elhelyezési koncepció elvi engedélyezési tervként megkapta a mûemléki hozzájárulást, így a tervezési munka is gôzerôvel indulhatott. A tervezési feladatokat és az ütemezést már a koncepció is rögzítette, így nem volt kérdéses, hogy milyen szakaszokra oszthatjuk a mai napig folyó építkezést. Az elsô tervfázisban az épület gondos és annak minden részletére kiterjedô felmérése – külön valamennyi nyílászáróra, ablakra és ajtóra kiterjedô részletrajzokkal – készült el, és megkezdôdött a mûemléki tudományos dokumentáció kutatási munkáinak elôkészítése is. Ugyancsak elkészült az egész épületegyüttes felújítására vonatkozó engedélyezési terv is. Ezzel párhuzamosan azonban – az idô és a költöztetés kényszere sürgetett – megkezdôdött az Ásványtár elhelyezésének engedélyezése, majd kiviteli tervezése is. Az elsô, a MTM által birtokbavett épületrész a Ludovíceum földszintjének jobboldali részén, a délnyugati szárnyban történt, átadására 1995 ôszén került sor. A következô feladat a szintén Pollack tervezte – hányatott sorsú – Lovarda helyreállítása és alkalmassá tétele múzeumi, kiállítási funkciókra. A lovardaépület nemes egyszerûségû,
Tusnad 2005
Baia Mare
another building with troubled past and projected by Mihály Pollack. The noble simplicity of the Riding Hall, as well as its classicist mass determined to a great degree the possibilities of planning, and formulating new building elements, adjacent to it, proved to be a sensible task. Even if the conception plan calculated it, the final solution was to be realized much later, only in the building phase started in September this year (2004). As for the renovation of the Riding Hall: it was then that the new exposition building of the HMNS was completed, and ceremonially presented in October 1996. On the area of the former stables, in the basement, a space for receiving the public was developed: learning and demonstration rooms, lobby and cashiers, clothing rooms and buffet, as well as the Museum Shop and the water sections. From here we may proceed to the initial ground floor of the Riding Hall, following a wide stair or by a glass–walled elevator: there we are to find a huge (1000 sqm), one-spaced exposition hall. To increase the exposition area a gallery was created, respecting the space experience and using the entire height. It is at several meters near the Riding Hall, on the side of the Botanical Garden, that we may find the small pit house of the classicist Illés Pit, surrounded by a charming architectural and botanical frame, a monument reconstructed in the 1980s by voluntary and enthusiastic town-protectors, conducted by Peter Buza. The two classicist buildings – the small and the great one, revived from its ashes, together with the new, classicist fence – that is the Riding Hall and the Illés Pit – offer the viewer a real aesthetic pleasure. The new exposition space opened in the Riding Hall in 1996, together with the new exposition of the museum, proved to be a great audience success. In the next phase of the work there followed the total replacement of the huge roof structure of the Ludoviceum, as well as the building of the mansarde section. It was under the new roofing that the stores of the national institution could be placed: those of the zoology and of the anthropology sections, together with the offices, laboratories and working rooms. The new stores were equipped with modern, moveable shelves and air conditioning. The great performance boiler room and the entire climatic factory of the huge building complex were also placed there. It is thanks to the mansarde that the upstairs spaces of the Ludoviceum main building can be used in the future for expositions, offices and representative aims, according to the initial conception plan. One cannot see from the outer facades of the huge building-mass that a mansarde was built there: roof-planes on the Orczy Garden, the Ludovika Square and the Üllôi Street sides are without windows. It was on the roof-planes giving to the yard that lighting window structures and big lamelled openings - necessary for the mechanics - were created. Workshops, stores and offices placed in the mansarde and equipped with complicated fire-protection systems as well as weight-elevators were handed over in 2001. The new working, storing and mechanical solutions devised for the Hungarian Museum of Natural Sciences will ensure for long decades the possible enlarging within the actual building. Restoration and storing conditions satisfy the needs of the 21 st century. Considering these and the conception still to be fulfilled it is no wonder that the corresponding foreign institutions reacted with
Tusnad 2005
Baia Mare
klasszicista tömege meghatározta a tervezés lehetôségeit, és igen kényessé tette a hozzá csatolható új építészeti elemek megfogalmazását is. Bár a tanulmányterv már számolt ezzel, a végleges megoldás csak sokkal késôbb, az idén szeptemberben átadott építési szakaszban valósulhatott meg. Visszatérve a Lovarda felújítására: ekkor készült el a MTM új kiállító területe, amelynek ünnepélyes átadására 1996 októberében került sor. Az alagsorban – az egykori istálló területén – készült el a közönséget fogadó szint: itt vannak a tanuló és demonstrációs termek, az elôtér és a pénztárak, a ruhatár és a büfé, valamint a múzeumshop és a vizes helyiségek. Innen széles lépcsôn – ha kívánjuk, üvegfalú látványliften – mehetünk fel a lovarda eredeti szintjére, ahol hatalmas (1000 m 2) méretû, egyterû kiállítási csarnok várja a látogatókat. A kiállítási terület bôvítése érdekében a teljes belmagasságot kihasználva a térélmény megtartásával – galéria készült. A Lovarda mellett, attól néhány méternyire a Füvészkert felôli oldalon – megnyerô építészeti és kertészeti keretbe foglalva – látható a Buza Péter kezdeményezése alapján a 80as években, lelkes városvédôk társadalmi munkájával rekonstruált, szintén klasszicista Illés-kút kis kútháza. A Mányi István tervezte klasszicizáló, új kerítés a kicsi és a hatalmas, poraiból feltámadt két klasszicista épülettel, az Illés-kúttal és a Lovardával együtt igazi esztétikai élményt nyújt. A Lovardában 1996-ban megnyitott kiállítótér, benne a múzeum új kiállításával nagy közönségsikert aratott. A munka következô szakaszában a Ludovíceum hatalmas, több mint 7000 m 2-es tetôszerkezetének teljes cseréjére és a tetôtér beépítésére került sor. Az új fedélszék alatt sikerült elhelyezni az országos intézmény raktárait – beleértve az embertani tár és az állattár raktárait, az ezekhez tartozó irodákat, laboratóriumokat és munkahelyeket is. Az új raktárakat, mozgatható, korszerû tárolópolcos rendszerekkel, légkondicionálással látták el. Ugyancsak itt nyert elhelyezést a hatalmas épületegyüttes teljes klímagépészeti rendszere és a nagyteljesítményû kazánház. A tetôtér kihasználása teszi lehetôvé, hogy a Ludovíceum fôépületének emeleti tereit kiállítási, irodai és reprezentatív célokra lehessen majd felhasználni a terveknek megfelelôen. A tetôtér beépítése a hatalmas tömegû épület egyetlen külsô homlokzatán sem látszik – mind az Orczy–kert, mind a Ludovika tér és az Üllôi út felôli tetôsíkok ablaktalanok. A bevilágítás ablakszerkezetei és a gépészeti okból két helyen is szükséges nagyméretû – tetôsíkban fekvô – lamellás nyílások az udvari oldalon létesültek. A tetôtérben elhelyezett – bonyolult tûzvédelmi rendszerrel és felvonókkal, teherfelvonókkal ellátott – mûhelyek, raktárak és irodák átadására 2001-ben került sor. A Magyar Természettudományi Múzeum új munkaterei és raktározási, valamint gépészeti megoldásai hosszú évtizedekre fogják biztosítani a bôvítés lehetôségét a jelenlegi épületen belül. A raktározási és restaurálási feltételek pedig a XXI. század igényszintjét is kielégítik. Fentiek, és a még megvalósítandó koncepciónak köszönhetôen a Magyar Természettudományi Múzeum külföldi társintézményei irigységgel vegyes elismeréssel nyilatkoztak a III. ütemben elkészült tetôtéri munkaterek kialakításáról.
envy mixed with appreciation to the mansarde workplaces developed in the 3rd phase. The opening ceremonies of the "Cultural Heritage Days2004" event were held this year in the new lobby of the Hungarian Museum of Natural Sciences, a sign of recognition of the monument restoration work carried out over a decade. As we signaled in the 10th number of Historic Building Conservation the patron of the opening ceremony was Ferenc Mádl, the president of the republic, two ministers and the first coordinator of the European Council, Mr. Emil van Brederode, were also present. The main entrance lobby with glass dome – developed under ground level, on the territory between the main building and the Riding Hall –, the two–storey basement garage and the additional buildings were completed and handed over. We have to mention the double staircase connecting the Riding Hall and the entrance lobby, the two panorama elevators, the main entrance joining the entrance lobby, with its arched glass–roofing containing metallamellas guided by sunlight, not to speak about the huge whale skeleton hung up there. The whale is an extraordinary sight in itself, and its effect is being heightened by the long, timberstructured glass-ceiling, the elegant stairs and the hydraulic plateau without glass-walls, which has the role of the elevator… The experience of arriving is fascinating indeed. From the huge, circular entrance lobby – with glass-dome and shadowing lamellas – we may continue our way into three directions. To the left we may go – through the double staircase – into the known exposition hall, to the Riding Hall and – if we proceed upstairs – to the closed garden placed between the two buildings. Forward one can reach the wide gala stair that leads to the Orczy Garden and the terraced rock-garden, a stair that in the future will provide the connection to the park area. To the left of the gala stair we will see a great buffet facing the park, while to the right a multifunctional, mainly training room. Further to the left we may reach the huge new exposition hall, developed under the yard of the main building. Yet this promenade is full of surprises: under the glass-floor of the passage realized in the celalr of the Ludoviceum we may wonder at the colours and the animals of a coral reef – right beneath our feet!!! A successful solution, indeed! The true experience is nevertheless offered by the huge and fascinating exposition space of 2000 sqm, realized under the whole surface of the court. Two glass–pyramids provide the lighting of the exposition hall, thanks to the already known, sun shading metal lamellas, guided by computers. On the two floors below the exposition area storing rooms were built, the total surface of which is more than 4000 sqm. (As a curiosity we have to mention that the country's biggest weight elevator is to be found here: its dimensions are those of a room, with an imposing height of 4 m.)
A Kulturális Örökség Napjai 2004 rendezvényeinek megnyitó ünnepségét a Magyar Természettudományi Múzeum új elôcsarnokában tartották, ami önmagában is méltó elismerése a több, mint egy évtizede tartó mûemlékhelyreállítási munkának. Mint arról az Örökségvédelem 10. számában is beszámoltunk, a megnyitó rendezvény fôvédnöke Mádl Ferenc köztársasági elnök volt, a megnyitót két miniszter, valamint az Európa Tanács elsô koordinátora – Emil van Brederode úr – is megtisztelte jelenlétével. Elkészült és átadták a fôépület és a Lovarda között, a föld színe alatt létesített fôbejárati, üvegkupolás elôcsarnokot, az alatta lévô kétszintes mélygarázst és az ehhez kapcsolódó összes létesítményt. Ezek közé tartozik a Lovardát és az elôcsarnokot összekötô, új, kettôs lépcsôház és a két panorámalift, az elôcsarnokhoz csatlakozó fôbejárat és ennek íves, fémlamellákkal ellátott üvegteteje, az itt elhelyezett, hatalmas, függesztett bálnacsontvázzal. A bálna önmagában is rendkívüli látvány, a hatást azonban még fokozza a hosszúkás, ragasztott faszerkezetû üvegtetô, az elegáns lépcsôsorok és az üvegfalak nélküli, hidraulikus plató, amely a lift szerepét tölti be... A megérkezés élménye valóban lenyûgözô. A hatalmas – szintén árnyékoló lamellás, üvegkupolás – körkörös elôcsarnokból három irányban is folytathatjuk utunkat. Balra – az új, kettôs lépcsôházon keresztül mehetünk a már ismert kiállítócsarnokba, a Lovardába – és továbbmenve fölfelé a két épület között kialakított zárt udvarra. Egyenesen elôre haladva érjük el az Orczy-kertbe vezetô, teraszosan kialakított sziklakertbe kifutó széles díszlépcsôt, amely késôbb az összeköttetést fogja biztosítani a parkterülettel. A lépcsôtôl balra nagyméretû, parkra nézô büfét, jobbra többcélú – fôleg oktatási célokra alkalmas – helyiséget találunk. Jobbra pedig a fôépület udvara alatt kialakított, hatalmas új kiállítótérbe jutunk. Ez a séta azonban újabb meglepetést tartogat: a Ludovíceum pinceterében kialakított átjáró üvegpadlója alatt egy korallzátony színeit és állatait csodálhatjuk meg a lábunk alatt. Frappáns megoldás! Az igazi élmény azonban az udvar teljes területe alatt kialakított, hatalmas és lenyûgözô, csaknem 2000 m 2–es kiállítási tér. A kiállítóterem világításáról két üvegpiramis gondoskodik – a már ismert, számítógép vezérelte fém napellenzô lamellákkal. A kiállító terület alatt, két szinten raktárak készültek, ezek összterülete meghaladja a 4000 m 2-t. (Érdekesség: itt készült el az ország legnagyobb teherliftje. A szobányi méretû lift belmagassága is impozáns: csaknem 4 m magas.)
Tusnad 2005
Baia Mare
LET US SUMMARIZE THE ACHIEVEMENTS OF THE GREAT PROGRAMME SINCE 1994:
LÁSSUK TEHÁT, MI KÉSZÜLT EL 1994 ÓTA A HATALMAS PROGRAMBÓL.
1st phase (1994-1996)
I. ütem (1994–1996)
The Mineral Collection and its additional buildings (laboratories, research rooms, and offices) were completed on the ground floor of the Ludoviceum main building, on the right side and with a total surface of 2400 sqm. (On the left wing the following rooms are to be still developed: the paleontological collection, the library, the security services and the telephone center.) Rebuilt from its decays, the former Riding Hall was reconstructed, housing exposition rooms and the additional functions such as stores, clothing rooms, cashiers, offices, training and sanitary rooms, on a total surface of 2600 sqm and on four different floors.
Elkészültek a Ludovíceum fôépületének földszintjén, az épület jobb oldalán az ásványtár és kiszolgáló helyiségei (laborok, kutatóhelyiségek, irodák stb.) összesen 2400 m 2 területen. (A bal szárnyon az ôslénytár, a könyvtár, a biztonsági szolgálat és a telefonközpont helyiségei lesznek!) Romjaiból újjáépült az egykori Lovarda, itt kiállítóterek és az azokat kiszolgáló helyiségek nyertek elhelyezést (raktárak, mûhelyek, büfé, ruhatárak, pénztárak, irodák, oktató és szaniter helyiségek) négy szinten, összesen 2600 m 2 területen. II. ütem (1997–1999)
2nd phase (1997-1999) The whole mansarde was completed, by the construction of a new structure, new tiling and canalization. All the rooms of the Anthropological Collection have been placed here, as well as all the rooms of the Zoology Collection, together with additional functions: working rooms, workshops, libraries, offices and the corresponding water rooms and sanitary ones. The factory serving the whole building complex – such as the boiler rooms and the climatic engine rooms – was also placed in the mansarde. The museum sections in the mansarde occupy a total surface of 2429 sqm, while the whole mansarde surface reaches 3963 m2 (!).
Elkészült a fôépület teljes tetôtér beépítése, az új tetôszerkezet, valamint a cserépfedés és csatornázás. Itt vannak az Embertani Tár összes helyiségei, az Állattár összes helyiségei és a hozzá csatlakozó funkciók: munkaszobák, mûhelyek, könyvtárak, irodák és a szükséges vizesblokkok, szaniter helyiségek. Ugyancsak a tetôtérben kapott helyet az épületegyüttest kiszolgáló gépészet: a kazánházak és a klímagépházak is. A tetôtéri múzeumi egységek 2429 m 2 területet foglalnak el, a teljes tetôtéri terület 3963 m2. III. ütem (2000–2004)
3rd phase (2000-2004) The court of the main building was built in, amounting to a number of three underground storeys. On the first storey one can find the new exposition hall of the museum, with a total surface of 1898 sqm. On the two below floors (the 2 nd and the 3rd, respectively) stores were built, the surface of which is similar to that of the exposition hall, that is 2x1898 sqm. The total surface of the useful space underground the court is 5694 sqm. The new public-traffic area was completed underground, between the Riding Hall and the main building. The new sections developed here are the following: reception hall and passage leading down, entrance hall and its additional functions, way up to the park, rock-garden, roof garden, car garage on the 2nd and 3rd floors, finally a passage under the main building, on its cellar level. The useful surfaces developed here are the next ones: first underground parking garages, 2x1830 sqm, in total 3660 sqm. second reception level (entrance lobby and additional sections) with a surface of 1600 sqm the surface of the passage being 120 sqm. It is at this point that the realization of the Hungarian Museum of Natural Sciences in the building of the Ludoviceum is to be found now. The future tasks are not minor however: the basements of the main buildings, the left wing of its ground floor, the first and the second floors must be renovated, as they are to house the below museum functions: Basement: laboratories, stores and workshops
Tusnad 2005
Baia Mare
Elkészült a fôépület udvarának beépítése, három teljes földalatti szint. Itt helyezkedik el a -1. szinten a múzeum új kiállító csarnoka. Alapterülete 1898 m2. Az alatta lévô két szinten (-2. ill. -3. szint) raktárépületek, ezek területe azonos a kiállító–területtel, azaz 2x1898 m 2. Az udvar alatti összes hasznos terület tehát 5694 m2. Elkészült a közönségforgalmi terület, a Lovarda és a fôépület között, a föld alatt. Az itt létrejött, új építményegységek: fogadócsarnok és lejárat, elôcsarnok és mellékfunkciói, feljárat a parkba, sziklakert, tetôkert, autóparkoló a -2. és a -3 szinten, végül átjáró a fôépület alatt, a fôépület pinceszintjén. Az itt létrejött – új – hasznos alapterületek a következôk: 1. földalatti parkológarázsok: 2x1830 m 2, tehát összesen 3660 m2. 2. fogadószint (elôcsarnok és egységei) területe 1600 m 2, az átjáró területe 120 m2. A Magyar Természettudományi Múzeum építése és kialakítása a Ludovíceum épületében jelenleg itt tart. A hátralévô feladatok sem kicsinyek: fel kell újítani a fôépület alagsorait, földszintjének bal szárnyát, az elsô és második emeletet. Itt kerülnek majd elhelyezésre a múzeumi funkciók, az alábbiak szerint. Alagsor: laboratóriumok, raktárak és mûhelyek Földszint: ôslénytár, könyvtár, biztonsági szolgálat, kommunikációs és telefonközpontok, Elsô emelet: fôigazgatóság, gazdasági igazgatóság, növénytár, Második emelet: állattár, parazitológiai gyûjtemény,
Ground floor: Paleontological Collection, library, security service, communication and telephone centres First floor: principal management, economic management, Botanical Collection Second floor: Zoology Collection, Parasitological Collection, Insect Collection, further rooms of the Botanical Collection, Seed and Fruit Collection, rooms of guest researchers. The Hungarian Museum of Natural Sciences has found a wonderful home. The similar European museums have all reasons to feel silent envy: very few of them may provide such exceptional working and exposition conditions nowadays. Yet there are still huge tasks for everyone working on fully completing the definitive home of the Hungarian Museum of Natural Sciences. Work is in process, even is scheduling has been changed several times. Nevertheless, we have to recognize the singular nature of the fact that the planned functions and the usage of the building are advancing according to the initial conception, without changes: singular at least in Hungarian architecture and building practice. This could have happened due to the careful professional museum preparations and the detailed program plan. And even if the executor firms kept on changing, the professional direction – lead by principal director Matskásy, and the person of the projector, the Ybl-prize winner architect István Mányi, have not been modified! Almost incredible, but they represent the conception from the first steps!
rovargyûjtemény, növénytár további egységei, mag- és termésgyûjtemény, vendégkutatók szobái. A Magyar Természettudományi Múzeum tehát otthonra, nagyszerû otthonra talált. Minden oka megvan az európai társmúzeumoknak a csendes irigykedésre: ilyen kitûnô munka és kiállítási feltételek mellett igen kevés intézmény dolgozhat napjainkban. Mint látható, még igen nagy feladat elôtt áll mindenki, aki a Magyar Természettudományi Múzeum végleges otthonának teljes befejezéséért dolgozik. A munka folyik, bár az ütemezés eddig már többször módosult. Ami azonban csodálni való és a magyar építészeti–építési gyakorlatban igen ritka: a megtervezett funkciók, az épület hasznosítása az eredeti programterv szerint halad és nem változott. Ezért elismerés illeti a gondos szakmai (múzeumi) elôkészítést és a részletesen kidolgozott programtervet egyaránt. Itt kell megjegyeznem: bár a kivitelezô cég már többször, addig a szakmai vezetés – élén Matskásy fôigazgató úrral –, valamint a tervezô személye – Mányi István Ybl díjas építész – nem változott! Szinte hihetetlen: az elsô kapavágás óta ôk képviselik a koncepciót! Azt hiszem, ilyen hatalmas munkánál ez a legfontosabb! Ezt a szerencsét megérdemli Pollack Mihály és mûve ugyanúgy, mint a Magyar Természettudományi Múzeum.
I think this is what really matters in a huge work like this! This is a luck deserved by Mihály Pollack and his masterpiece, and the Hungarian Museum of Natural Sciences alike.
Tusnad 2005
Baia Mare
Ana Bârca
8 Wooden Churches from Maramures Inscribed on the World Heritage List 8 Biserici de lemn din Maramureš înscrise în Lista Patrimoniului Mondial Nyolc máramarosi fatemplom a Világörökség-listán At the end of 1999th, eight of wooden churches from the north Romania previously nominated, were inscribed on the World Heritage List. The whole documentation have been carried out by an working group from The National Center of the Cultural Heritage. The decision to include these churches on the World Heritage List was taken on the basis criteria iv: (I quote ) "The wooden Churches of Maramures represent o selection of eight outstanding examples of vernacular religious wooden architecture resulting from the interchange of Orthodox religious traditions with Gothic influences in a specific vernacular interpretation of timber construction traditions". They provide a vivid picture of the variety of design and craftsmanship expressed by narrow but high timber constructions with their characteristic tall, slim clock towers at the western end of the building, single or double roofed and covered by shingles. As such, they are a particular vernacular expression of the cultural landscape of that mountainous area of northern Romania. Wooden church architecture flourished too and reached the climax of its development in the eighteenth century, when the Gothic style of Transylvania was further elaborated and perfected. There are few wooden churches which can be securely dated to the 17th century. After the last Tartar invasion in 1717, new wooden churches were erected, which remain to this day in many Maramures villages. Wood has proven to be an ideal ground for designs and images evocative of the mysteries of existence. All wooden churches were decorated inside with wall painting in distemper. To make a more uniform surface, strips of hemp or linen cloth were stuck over the interstices between beams. The painting is now frequently in a decayed state, particularly on the lower walls. The wall paintings depict the scenes from Old and New Testament, evoking an innocent postByzantine style, employing sometimes, a Baroque and Rococo interpretation. The
La sfâršitul anului 1999, opt dintre bisericile de lemn din nordul României, propuse în anul 1998, Comitetului Patrimoniului Mondial, au fost înscrise în Lista Patrimoniului Mondial. Aceste biserici sunt monumente istorice din localitãøile Bârsana, Budešti Josani, Desešti, Ieud Deal, Rogoz, Plopiš, Poienile Izei, Šurdešti. Decizia de a include aceste biserici în lista UNESCO a fost luatã pe baza calitãøii documentaøiei realizatã de Centrul de Proiectare pentru Patrimoniul Cultural Naøional. Dintre criteriile adoptate în aprecierea propunerilor, criteriul iv a fost cel care a constituit baza deciziei oficiale. Citez: "Bisericile de lemn din Maramureš reprezintã o selecøie de opt exemple de excepøie a arhitecturii de lemn vernaculare religioase, rezultat al unor influenøe gotice grefate pe tradiøii religioase ortodoxe, totul interpretat cu aportul tradiøiilor construcøiilor în lemn de tip vernacular." Ele redau o imagine vie a diversitãøii concepøiei ši competenøelor meštešugãrešti, exprimate prin construcøii de dimensiuni mici, dar înalte, cu zvelte turnuri clopotniøã amplasate pe vest, cu acoperiš din šindrilã, simplu sau cu dublã poalã. Este vorba de o expresie proprie a peisajului cultural al acestei zone muntoase de nord a României. Toate aceste monumente au fost pictate în interior ši majoritatea picturilor murale au caracteristica comunã stilului post bizantin. Arhitectura bisericilor de lemn a înflorit ši a atins apogeul dezvoltãrii sale, în sec. XVIII, când stilul gotic în Transilvania era , de ceva timp, elaborat ši perfecøionat. S-au pãstrat numai câteva biserici de lemn, care sunt cu siguranøã datate - sec. XVII. Dupã ultima invazie a Tãtarilor din anul 1717, alte biserici de lemn au fost ridicate, acestea pãstrându-se pânã în prezent, în multe sate din Maramureš. Lemnul s-a dovedit a fi un suport ideal pentru decor ši imagini evocative a secretelor existenøei. Toate bisericile de lemn au fost decorate cu picturã muralã în tempera. Pentru a obøine o suprafaøã uniformã pentru picturã, pe spaøiile dintre bârnele peretelui au fost lipite fâšii de
1999 végén Románia északi részének nyolc fatemplomát – 1998-ban terjesztették ôket a Világörökségi Bizottság elé – fölvettek a Világörökség listájára. Ezek a templomok Barcánfalva (Bârsana), Budfalva (Budesti Josani), Desze (Desesti), Jód (Ieud Deal), Rogoz (Rogoz), Nyárfás (Plopis), Sajómezô (Poienile Izei) és Dióshalom (Surdesti) mûemléktemplomai. A határozat, hogy e templomokat beiktassák az UNESCO listájára, a Nemzeti Kulturális Örökség Tervezôközpont által benyújtott dokumentáció jó minôségén is alapult. Az ajánlások értékelésekor az elfogadott kritériumok közül a 4. kritérium volt az, amely megalapozta a hivatalos döntést. Idézem: „E máramarosi fatemplomok a vallásos népi építészet nyolc kivételes példáját képezik, a gótikus építészet ortodox vallási hagyományokba való átültetésének eredményei, melyeket teljesen áthatnak a népi faépítkezés hagyományai.” Ezek életteli képét adják a felfogásbeli változatosságnak és a mesterségbeli tudásnak, melyeket a kisméretû de magas építmények, a nyugati részen elhelyezett karcsú harangtornyok, a zsindelyezett, egyszerû vagy kettôzött tetôsíkok fejeznek ki. A templomok Észak-Románia, hegyvidéki kultúrájának sajátos kifejezôdései. Valamennyi templombelsô festett, a falfestmények nagy része késôbizánci stílusú. A fatemplomok fejlôdésének csúcspontja a XVIII. század volt, amikor az erdélyi gótika ideje már rég lejárt. Csak kevés olyan fatemplom maradt fenn, melyet biztonsággal a XVII. századra keltezhetünk. Az utolsó, 1717-es tatárjárás után más templomok épültek, amelyek ma is állnak Máramaros több falujában. A fa ideális hordozónak bizonyult a díszítésre és a létezés titkait megjelenítô ábrázolások megvalósítására. Mindegyik templomot tempera alapú falfestés díszít. Hogy a festés számára egyenletes felületet biztosítsanak, a fal gerendái közé kender vagy lenvászon sávokat ragasztottak. Ma, fôleg a falak alsó részén, a festés gyakran rossz állapotban van.
Tusnad 2005
Baia Mare
wall painting has a didactic function that is still relevant until today. The most frequent iconographical theme of the nartex is The Last Judgement. The steering of this representation was due to the Russian icons that were been known on the north Romania. The hell is an image of the breathing monster (dragon mythical fire) and the sinners are tortured by devils. The death is a skeleton with the scythe on the hand. The groups of Saints Martyrs, Kings and patriarches are represented besides with the Jews, Tartars, Arabs, Germans and Frenchmen. The paintings of the nave presents in parallels, scenes of Old and New Testament, related to the Initial Sin and the Passion. Adam's an Eve's creation, Snake's Temptation, Banishment from Paradise, Cain and Avel, Noe's Arca, Devastation of Sodom and Gomorra. The Maramures wooden churches painting keeps the traditional postByzantine iconography, but denotes the interpretation of the traditional patterns and sometimes a replacement with the iconographical models came from the Western Europe. On the other hand, as a general feature, the registers organize the space of the paintings and the different rural elements and specific decoration are introduced. Internally, the iconostases conform broadly to the universal Orthodox pattern. The iconostasis or the icon-screen appeared in the orthodox churches during the 15th century. The narthex and the nave are both oriented on the iconostasis. An important number of icons and church murals centers were active in the 18 th century Maramures. I would like to say now few words about a last experience concerning an international Project too. In 1995 the socalled Maramures Project started. The main co-ordinator of this one has been the Ministry of Culture, by his Department of Historic Monuments. It was a pilot conservation Project one, which was intended to act as a model with multiplier effects and was based on the perceived need for significant international technical assistance and collaboration in order to help to preserve the most important parts of the built Heritage. The pilot conservation Project is intended to demonstrate something of the rich diversity of wooden church architecture still remaining within the Maramures region of Romania. According to the stated principles, this Project intended to preserve and maintain
Tusnad 2005
pânzã de cânepã sau in. Pictura este acum frecvent degradatã în zonele inferioare ale pereøilor. Picturile murale descriu scene din Vechiul ši Noul Testament, evocând un naiv stil al picturii post bizantine, folosind uneori, o interpretare în manierã barocã sau rococo. Pictura muralã avea o funcøie didacticã, care a rãmas relevantã pânã astãzi. Cea mai frecventã temã iconograficã a pronaosului este Judecata de Apoi. Rãspândirea acestei reprezentãri e datoratã icoanelor rusešti care erau bine cunoscute în nordul României. Picturile din naos prezintã în paralel, scene din Vechiul ši Noul Testament. Iconografia relevã interpretarea modelelor tradiøionale ši, câteodatã, înlocuirea cu modele iconografice venite din vestul Europei. Pe de altã parte, ca o caracteristicã generalã, registrele marcheazã compoziøia picturii ši sunt introduse diferite elemente rurale ši decoraøie specificã culturii artistice a Maramurešului. Iconostasele, în interior, urmãresc modelul universal ortodox. Acestea apar în bisericile ortodoxe în sec. XV. Un numãr important de centre de iconari ši de zugravi de biserici a dovedit activitatea în Maramurešul sec. al XVIII-lea. Voi spune acum câteva cuvinte despre o experienøã trecutã privind un proiect internaøional - aša numitul "Proiect Maramureš", care a început în anul 1995. Principalul coordonator al acestuia a fost Ministerul Culturii, prin Direcøia Monumentelor Istorice. Acesta a fost un proiect pilot, care a avut intenøia de acøiona ca un model, cu efecte multiplicate ši a fost bazat pe o nevoie de semnificativã colaborare tehnicã internaøionalã, în scopul prezervãrii unei pãrøi importante a patrimoniului construit. Proiectul pilot de conservare a intenøionat sã demonstreze ceva din bogata varietatea arhitecturii bisericii de lemn, care existã încã în zona Maramurešului. Conform acestor principii declarate, proiectul a intenøionat sã conserve forma (silueta) ši caracterul arhitecturii bisericii. Proiectul a avut douã componente principale: conservarea arhitecturii ši restaurarea picturii. Fondurile au fost obøinute de la Ministerul Culturii, Getty Grant Institute ši, parøial pentru picturã, de la Comisia Europeanã. Acest proiect pilot sa bazat pe nevoia de a propune ši a stabili mai multe mijloace eficiente în susøinerea unei menøineri potrivite. În cadrul acestui program s-au efectuat lucrãri de restaurare
Baia Mare
A falfestmények az Ó- és az Újszövetség jeleneteit ábrázolják, kissé naiv felfogású késôbizánci stílusban, néha barokk és rokokó elemekkel keverve. A falfestmények tanító jellegûek, ami ma is jól érzékelhetô. Az elôcsarnok leggyakoribb ikonográfiai témája az Utolsó ítélet. Az Utolsó ítélet ezen ábrázolásának az elterjedése az orosz ikonoknak köszönhetô, melyeket Máramarosban igen jól ismertek. A hajó falképei párhuzamosan mutatják be az Óés Újszövetség jeleneteit. Az ikonográfia a hagyományos elôképeket értelmezi, melyeket néha nyugat-európai ikonográfiai elemekkel helyettesít. Másrészrôl pedig általános jellemzôként megemlíthetjük, hogy a szakaszok meghatározzák a festmény kompozícióját, melyekbe különféle népies és Máramaros mûvészeti kultúrájára jellemzô díszítôelemeket visznek be. Az ikonosztázok követik az általános ortodox modellt. Ezek a XV. századi ortodox templomokban tûnnek fel. A XVIII. században számos ikonfestô és templomfestô mûhely jelenléte bizonyítható Máramarosban. Néhány szót érdemes szólni az 1995ben elkezdett nemzetközi Máramarosprojekt tapasztalatairól. A projekt fô koordinátora a Kulturális Minisztérium Mûemlékvédelmi Igazgatósága. Ez ún. mintaprojekt volt, melynek példaként kellett szolgálnia, ráirányítva a figyelmet a nemzetközi mûszaki együttmûködés szükségességére az épített örökség egy fontos része helyreállításának céljából. A helyreállítási mintaprojekt igyekezett izelítôt adni a ma is álló máramarosi fatemplomok építészetének gazdag változatosságából. A projekt igyekezett megôrizni a templomok építészeti formáját (sziluettjét) és karakterét. A tervezet két fô összetevôje: az építészeti jellegzetességek megôrzése és a falfestmények helyreállítása. A szükséges pénzalapokat a Kulturális Minisztérium, a Getty Grant Institute, és a falfestményekhez részben az Európai Bizottság biztosította. A mintaprojekt az állapotmegôrzést célzó hatásos eszközök kijelölésére helyezte a hangsúlyt. A program keretében építészeti helyreállításokat végeztek Barcánfalva, Budfalva, Desze, Rogoz templomaiban, illetve most is folynak a falfestményrestaurálások Barcánfalván, Jódon, Rogozon. A deszei templom
the church appearance and character. The changes that have been performed aim at removing some previous inadequate interventions and at returning to the initial shape attested by existing documents, or at improving the physical condition of the historic monuments. This Project had two main components: architectural conservation and painting restoration. Funding were been obtained from Ministry of Culture of Romania, Getty Grant Program and partially for the painting, from European Commission. This pilot Project was based on the need to introduce and establish more effective means of providing adequate maintenance. In the frame of this project have been carried out the architectural restoration at Bârsana, Desesti, Budesti Josani, Rogoz and Painting restoration started and it is in progress at Bârsana, Ieud Deal, Rogoz. At Desesti church the painting restoration have been finalized. Romania is rich in wall paintings but not surprisingly there are not enough trained wall paintings and icon conservators to meet more than a small fraction of the needs. Four years ago (1997) a collaboration of the Romanian specialists and some specialists from Scandinavia, was initiated, but the participation was very timid. The main objective of the further Programme which are proposing, apart from the need to save these paintings is to provide an extended Project suitable for training. The purpose of the programme is to focus on the skills in painting restoration related to distemper painting and try to increase the knowledge in this field. Briefly that means to exchange ideas, information and skills through the establishment of effective networks, to develop a coherent philosophy and practical framework, maximizing the beneficial impacts. To protect historical monuments included in the List of the world heritage, special measures of protection were introduced. In the year 2004 was officially adopted The Monitoring Methodology and Management Plans concerning the historical monuments inscribed on the WHL. By special measures of protection for the historical monuments included in the List of the world heritage it is understood scientific, juridical, administrative, financial, fiscal and technical measures meant to ensure their guard, maintenance and current repairs, conservation, consolidation
de arhitecturã la bisericile din Bârsana, Budešti Josani, Desešti, Rogoz ši intervenøii de restaurare picturã care sunt în curs la câteva dintre biserici, respectiv la Bârsan, Ieud Deal, Rogoz. La biserica din Desešti restaurarea de picturã a fost finalizatã. România e foarte bogatã în monumente de lemn cu picturã muralã, dar nu existã suficient personal instruit – conservatori, restauratori. În anul 1997 s-a încercat o colaborare în domeniul restaurãrii picturii în tempera pe lemn, a specialištilor români ci cei din Scandinavia, dar participarea a fost destul de redusã. Principalul obiectiv al unui viitor program pe care îl propunem, în afarã de nevoia de a salva aceste picturi este aceea de a realiza un proiect larg de instruire. Scopul programului e acela de a se concentra pe competenøe în restaurarea acestui tip de picturã ši de a crešte cunoašterea în acest domeniu. Pe scurt, asta înseamnã sã schimbi idei, informaøie ši abilitãøi (meštešug), prin stabilirea unei reøele de lucru eficiente, dezvoltarea unei filozofii coerente ši un cadrul practic de lucru, amplificând impactul benefic. În anul 2004 este adoptatã oficial, prin HGR 493, Metodologia privind monitorizarea monumentelor istorice înscrise în Lista Patrimoniului Mondial ši a metodologiei privind elaborarea ši conøinutul-cadru al planurilor de protecøie ši gestiune a acestui patrimoniu din România. "În înøelesul acestei metodologii, monitorizarea desemneazã acøiunea prin care se evalueazã periodic rezultatele mãsurilor de protecøie asupra monumentelor înscrise în lista patrimoniului mondial." Programul de protecøie ši gestiune a monumentelor istorice înscrise în Lista patrimoniului mondial cuprinde ansamblul de mãsuri cu caracter tehnicoadministrativ, asupra acestor monumente ši a zonei lor de protecøie sau, dupã caz, asupra zonei protejate, pe o perioadã de 5 ani. Realizarea Programului de protecøie ši gestiune se detaliazã prin planuri anuale de protecøie ši gestiune a monumentelor istorice înscrise în Lista patrimoniului mondial, care cuprind mãsurile cu caracter administrativ ši tehnic, specifice pentru fiecare monument istoric. Planurile anuale de protecøie ši gestiune sunt elaborate de consiliul judeøean pe teritoriul cãruia se aflã monumentul istoric înscris în Lista
falfestményeinek restaurálását már befejezték. Románia nagyon gazdag fából épített, festett mûemlékekben, de nem rendelkezik elegendô képzett szakemberrel – konzervátorral, restaurátorral. 1997-ben a romániai és skandináviai szakemberek megpróbáltak együttmûködést kialakítani a tempera alapú fafestés restaurálása terén, de a részvétel meglehetôsen alacsony volt. Az általunk felterjesztett program fô célja a falfestmények megmentésén túl az lenne, hogy egy széleskörû oktatási projektet hozzunk létre, minél több embert tegyünk érdekeltté e festészeti mód restaurálásában, és elmélyítsük a tudást ezen a téren. Ez tapasztalatcserét, információk cseréjét és eljárások elsajátítását feltételezi, hatékony munkahálózat megszervezését, illetve egységes alapelv és gyakorlati munkakeret kialakítását, amely érvényesíti a projekt jótékony hatását. 2004-ben a 493-as kormányhatározat hivatalosan elfogadta a "A Világörökséglistán levô mûemlékek monitorizálásának módszertanát" és az ezen a listán levô romániai örökség kezelési és mûemlékvédelmi tervei kidolgozásának és keret-tartalmának a módszertanát. "E módszertan értelmében a monitorizálás azt a tevékenységet jelenti, amelynek során idôszakosan felmérik a beavatkozások eredményeit a Világörökség-listán levô mûemlékeken." A Világörökség-listán levô mûemlékek védelmének és kezelésének programja összefoglalja a mûszakiadminisztratív jellegû intézkedések összességét, melyeket végrehajtottak ezeken a mûemlékeken, a környezetükön, esetenként a mûemléki védettség alá esô területeken 5 év leforgása alatt. A program a Világörökség-listán levô épületek évi védelmi és kezelési terveire tagolódik, amelyek összefoglalják az egyes emlékeken végrehajtott adminisztratív és mûszaki jellegû intézkedéseket. Az évi védelmi és kezelési terveket azon megyei tanács bocsátja ki, amelynek területén található a Világörökségi listán levô mûemlék, kikérve a tulajdonos, az ügykezelô vagy más, a mûemlék fölött különbözô
Tusnad 2005
Baia Mare
and restoration of, as well as to put to good account the monuments together with their premises and sites. The annual management and conservation plans must be realized by the local authorities, consulting the owners and site managers and approved by the Ministry of Culture and central administrative authorities with some responsibility in this field. The urgent need is the application more effectively, of the provisions of the specific legislation and to enhance professional cooperation between the local and central authorities and other bodies.
Tusnad 2005
patrimoniului mondial, cu consultarea proprietarilor, administratorilor sau a titularilor altor drepturi reale asupra imobilelor în cauzã, precum ši a consiliului local respectiv, ši sunt avizate de Ministerul Culturii ši Cultelor ši de autoritãøile administraøiei publice centrale cu atribuøii în domeniu. În prezent, nevoia stringentã este aceea de a aplica în detaliu, prevederile legislaøiei naøionale în domeniu, lucru care se poate realiza numai cu înøelegerea profesionistã a autoritãøilor locale ši printro colaborare a acestora cu organismele centrale.
Baia Mare
jogokkal rendelkezô szereplôk véleményét, akárcsak az illetô helyi tanács véleményét, a terveket pedig a Kulturális és Vallásügyi Minisztérium és az illetékes központi közigazgatási hatóság hagyja jóvá. Ma elengedhetetlen, hogy az illetô országos törvényeket minél teljesebben érvényesítsük, amely csak a helyi hatóságok szakértelme, és ezeknek a központi szervekkel való együttmûködése révén érhetô el.
FIELD TRIP – EXCURSIE DE STUDIU – TANULMÁNYI KIRÁNDULÁS
Plopiš — Nyárfás The village of Plopis, situated in the valley of the Cavnic river, was first mentioned in 1583 as a settlement, which belonged to the medieval fortress of Chioar. When the church was built, the village had around 200 inhabitants. The founder's name, priest Damian, was found in one of the church documents in 1811. The Church of the Holy Archangels stands in the north-center of the village, on a higher ground, in the middle of a churchyard, and is surrounded by a pasture and fruit-trees. The walls of the church, made of massive oak beams, carved on four sides and joined straight are placed on a higher mortar-bound stone plinth. The plan is rectangular with a pentagonal apse. The porch on the western façade is built on one level and has a 6-pillared solid structure, which supports beams of large dimensions, that hold the roof. The pillars are joined by semicircular arches. The bell tower, built over the pronaos, has a gallery with 16 pillars and arches, while the helm has four corner pinnacles. The pronaos has only two superposed windows, transmitting thus little light inside. The naos is lit up by 8 small windows, arranged on two levels. A trilobate vault, which is supported by lateral consoles, covers the naos. The altar area is covered by a vault, which is adjusted to the pentagonal plan, and
Satul Plopiš, situat în valea Cavnicului e menøionat pentru prima datã în 1583, ca o localitate ce aparøinea cetãøii medievale a Chioarului. În momentul construirii bisericii, comunitatea avea în jur de 200 de persoane. În anul 1811 se gãsešte notat pe un act al bisericii numele fondatorului preotul Damian. Biserica "Sf. Arhangheli" este situatã în nord-centrul satului, pe un teren mai înalt, în incinta cimitirului ši e înconjuratã de pãšune ši arbori fructiferi. Pe un soclu puøin înalt, alcãtuit din pietre mari legate cu mortar, se înaløã pereøii din bârne groase de stejar, fasonate pe patru pãrøi ši îmbinate în tãieturã dreaptã. Planul este cel obišnuit - rectangular ši cu absida altarului pentagonalã ši decrošatã. Pridvorul situat în faøa intrãrii pe faøada vesticã este construit pe un singur nivel ši posedã o structurã solidã de 6 stâlpi care susøin grinzi de mari dimensiuni, pe care sprijinã acoperišul. Stâlpii sunt legaøi prin arcade semicirculare. Peste pronaos s-a ridicat turnul clopotniøã, prevãzut cu un foišor cu 16 stâlpi ši arcade, iar coiful are 4 turnuleøe la o scarã redusã. Pronaosul nu are decât douã ferestre suprapuse, astfel încât puøinã luminã pãtrunde în interior. Naosul este luminat de 8 ferestre mici, ašezate pe douã nivele. O boltã trilobatã, ce sprijinã pe console laterale, acoperã naosul.
A Kapnik völgyében fekvô Nyárfás falu az okiratokban elôször 1583-ban tûnik fel, mint a középkori kôvári vár uradalmához tartozó település. A templom építésének idején a falu lakossága 200 lelket számlált. 1811-ban egy templomi iratban említik az alapítót, Damian papot. A Szent Arkangyaloknak ajánlott templom a falu központjának északi részén áll egy magaslaton, a temetô kertjében, legelôk és gyümölcsfák által övezve. Vastag, négy oldalon faragott, derékszögesen illesztett tölgygerendákból emelt falai habarccsal összefogott, nagy kövekbôl rakott, alacsony lábazaton állnak. Az alaprajz a szokásos: a templomtest derékszöges, a behúzott szentély ötszöges. A nyugati homlokzat bejárata elôtti egy szintes tornác hat oszlopból álló erôs szerkezete nagy méretû gerendákat hordoz, melyek a tetôt tartják. Az oszlopokat félköríves árkádok kötik össze. Az elôcsarnok fölött emelkedik a harangtorony, amelyet tizenhat oszlopból és árkádokból álló folyosó övez, a toronysisak négy kisebb fiatoronnyal rendelkezik. Az elôcsarnokban (pronaos) csupán két egymás fölé helyezett ablak világít, így a belsô meglehetôsen homályos. A hajóban két szinten elrendezett nyolc kis ablak nyílik. A hajót oldalgyámokra támaszkodó háromkaréjos boltozat fedi. A szentélyt az ötszöges záródáshoz illô
Tusnad 2005
Baia Mare
receives light through 6 superposed windows placed on the eastern, southern and northern sides. The floor gets emphasis through the great stone slabs. The murals, conserved on the vaults and iconostas, were painted by Stefan from Sisesti in 1811, who left an inscription on an icon. The same painter collaborated in the realization of the painting ensemble from the neighboring village, Surdesti.
We can list a few characteristics, which distinguish this church from other spiritual edifices in the area. The height of the walls with two rows of windows does not represent the typical seclusion of the churches of Maramures. That is why, the vaulted interior has a trilobate outline, being the only vault of this kind in the architectural context of these wooden churches. The upper beams of the longitudinal walls hide the rafters and consoles at the corner joints of the beams, which is considered to be an element borrowed from the Baroque architecture. Several repairs and restoration works were carried out at the church in Plopis in 1961, 1973, 1981 and 1991, which consisted of the consolidation of the foundation and of the tower, as well as the rebuilding of the roof and fence with the use of wattles. The technique used in the building of this church, the harmoniously proportioned volumetry, the sculptural and painted decoration, the silhouette and monumentality of the ensemble emphasized by its surroundings justify the inscription of this church on the World Heritage List among the 8 wooden churches of Maramures.
Tusnad 2005
Încãperea altarului, acoperitã la rândul sãu de o boltã adaptatã planimetriei pentagonale, este luminat de 6 ferestre suprapuse pe laturile de est, sud ši nord. Pardoselile impresioneazã prin existenøa dalelor mari de piatrã. Pictura muralã, conservatã pe boløi ši iconostas, a fost realizatã de pictorul Štefan din Sisešti, la 1811, care a lãsat o inscripøie pe o icoanã.
Acelaši zugrav a colaborat ši la realizarea ansamblului de picturã existent în biserica din satul vecin - Surdešti. Putem enumera câteva caracteristici care diferenøiazã aceastã bisericã de alte edificii de cult din øinut. Înãløimea pereøilor cu douã rânduri de ferestre, nu prezintã retragerea tipicã pentru bisericile din Maramureš. De aceea, spaøiul interior boltit are contur trilobat, fiind unica boltã de acest fel în contextul arhitecturii bisericii de lemn. Grinzile superioare ale pereøilor longitudinali ascund cãpriorii ši consolele aripilor de la îmbinãrile de colø ale bârnelor peretelui, fiind considerat un împrumut de detaliu constructiv din arhitectura barocã. Asupra bisericii din Plopiš s-au aplicat diverse reparaøii ši intervenøii de restaurare în anii 1961, 1973, 1981 ši 1991, concretizate în consolidãri de fundaøie ši turn, refacere acoperiš ši gard din nuiele împletite. Tehnica de execuøie a acestei biserici, volumetria armonios proporøionatã, decoraøia sculptatã ši pictatã, silueta ši monumentalitatea ansamblului puse în valoare de cadrul natural, au justificat înscrierea acestei biserici în seria de 8 edificii de lemn din Maramureš, în lista patrimoniului mondial.
Baia Mare
boltozat fedi, a keleti, déli és északi oldalon hat egymás fölé helyezett ablak világít. A nagy kôlapokból kialakított padlózat is igen látványos. A boltozatokon és az ikonosztázon fennmaradt falfestés Lacfalvi Štefan festô 1811-es mûve, aki az egyik képre feliratot is írt. Ugyanez a festô részt vett a szomszéd falu, Dióshalom temploma falképegyüttesének az elkészítésében is.
Néhány vonás megkülönbözteti ezt a templomot a környék más vallási építményeitôl. A két sor ablakkal ellátott falaknál hiányzik a máramarosi templomoknál jellegzetes magasságbeli beugrás. Belsô boltozata ezért kapott háromkaréjos formát, amely a fatemplomoknál az egyetlen ilyen jellegû boltozat. A hosszanti falak legfelsô gerendái elrejtik a szarufákat és a konzolokat, a falgerendák sarokillesztéses szárnyainak a konzoljait, amelyet barokk építési részletmegoldásként tartanak számon. A nyárfási templomon több ízben végeztek javítási és helyreállítási munkákat, 1961-ben, 1973-ban, 1981-ben és 1991-ben, melyek során az alapozást és a tornyot megerôsítették, a tetôt és a vesszôfonatos kerítést kijavították.
A templom építésénél használt mûszaki megoldások, harmonikus tömegarányai, faragott és festett dísze, a természeti környezetben jól érvényesülô sziluettje és az együttes nagyságrendje biztosították, hogy az épület bekerüljön a nyolc világörökség-listára felvett máramarosi templom közé.
THE CHURCH OF THE HOLY ARCHANGELS MICHAEL AND GABRIEL
BISERICA "Sf. ARHANGHELI MIHAIL ŠI GAVRIL"
SZENT MIHÁLY ÉS GÁBRIEL ARKANGYAL TEMPLOM
The settlement was first mentioned in 1411, as the property of a family. In the middle of the 16th century the village belonged to the mining towns of Baia Mare and Baia Sprie. Situated in a small valley, in the middle of a churchyard, where both wooden and stone crosses can be seen, the wooden church from Surdesti is the highest building of this kind in Europe - 54 m.
Localitatea este atestatã documentar la anul 1411 ca proprietate a unei familii. La mijlocul sec. al XVI-lea satul aparøinea orašelor miniere Baia Mare ši Baia Sprie. Amplasatã într-o micã vale ši înconjuratã de un cimitir în care crucile de lemn se amestecã cu cele din piatrã, biserica de lemn din Šurdešti, cea mai înaltã construcøie de acest tip din Europa - 54 m, a fost
A helység elsô, 1411-es említése szerint nemesi birtok volt. A XVI. század közepén a falu Nagybányához és Felsôbányához tartozott. Egy kis völgyben, a temetô közepén (melyben fakeresztek váltakoznak kôkeresztekkel) álló dióshalmi fatemplom a legmagasabb ilyen jellegû európai építmény (54 m), a térséget sújtó 1717-es tatárjárás után épült.
Šurdešti — Dióshalom The church was erected after the destructive raid of the Tatars in this area in 1717. The Cyrillic inscription carved above the portal indicates the name of the master craftsman and the year 1766. Seeing the architectural configuration, we can say, that the church from Surdesti is an example of a typical church from Maramures, situated at the southern border of the cultural area of Maramures. From this border to the region of Lapus, the architecture of the wooden church is endowed with other characteristics regarding proportions and detail. The constructors from Surdesti took over all the necessary elements in a highly advanced form and adjusted them to their specialized knowledge of the trade, reaching thus a structural and aesthetic perfection in the building of the church. The church is an evidence of the craftsmen's talent and daring.
ridicatã dupã distrugãtoarea incursiune a tãtarilor în acest teritoriu, la 1717. Inscripøia în chirilicã, incizatã deasupra portalului de intrare, indicã numele mešterului principal ši anul 1766. Prin configuraøia arhitecturalã se poate spune cã la Šurdešti gãsim exemplul de bisericã tipicã maramurešeanã identificat la limita sudicã a arealului cultural al Maramurešului. De la aceastã graniøã, spre øinutul Lãpušului, arhitectura bisericii de lemn capãtã alte caracteristici de proporøii ši detaliu. Constructorii de la Šurdešti au preluat toate elementele modelului, sub forma cea mai evoluatã ši leau pus în acord cu štiinøa meštešugului, biserica atingând în realizarea sa, perfecøiunea structuralã ši esteticã. Biserica este o probã de talent constructiv, de îndrãznealã a mešterilor. Pe un soclu din piatrã de carierã, se ridicã pereøii din bârne din lemn de stejar cioplite.
A kapuzat fölé bekarcolt cirill betûs felirat a munkálatot vezetô mestert és az 1766os évet említi. Építészeti megjelenése alapján a dióshalmi templom a Máramaros déli vidékére jellemzô típusba illeszkedik. Ettôl a határmezsgyétôl kezdve a Lápos vidéke felé a fatemplomok más arányokkal és részletmegoldásokkal rendelkeznek. A dióshalmi építôk a legfejlettebb szerkezeti megoldásokat ötvözték a mesterségbeli tudással, így a templom építése elérte a szerkezeti és esztétikai tökélyt. A templom a mesterek építési tehetségének és merészségének próbaköve volt. A faragott tölgygerendákból rakott falak bányászott kövekbôl épített lábazatról emelkednek. A templomtest kettôs ereszû, igen meredek tetôvel rendelkezik, melynek alsó része kihajlik, hogy óvja a falakat a csapadéktól.
Tusnad 2005
Baia Mare
The walls made of carved oak beams stand on a quarry-stone plinth. The roof of the church is provided with double eaves and has a steep inclination, flaring out at the lower parts, to protect the walls against precipitation. The bell tower placed over the pronaos has clearly delimited components and the porch is enhanced through 12 pillars connected with arches. The porch attached to the entrance on the western façade, with two rows of superposed arches with different openings, but with identical forms and decorations, was built in the 19th century. According to the inscription on the iconostas, the painter Stefan from Sisesti decorated the interior of the altar with Baroque paintings in 1783. In the same period other painters completed the pictoral ensemble in the naos and pronaos. Towards the inside, we notice the two sculpted oak portals, the old floor made of stone slabs and the vault of the naos with the dominant image of the Holy Trinity. An interesting picture is preserved on the ceiling of the pronaos, which represents the geometrical conception of the solar system with the planet Earth in the center of the composition. The usual changes made in other churches are carried out here as well in 1932, that is openings are cut in the dividing wall between the pronaos and naos, and a gallery is built in the naos. A long series of reparations follow over the years. In 1999 the wooden church from Surdesti is inscribed on the World Heritage List and is still frequented by the Greek Catholic believers as it is the only church in the village.
Tusnad 2005
Corpul bisericii are un acoperiš cu streašinã dublã ši cu pante foarte abrupte, evazate în partea inferioarã, pentru a proteja pereøii împotriva precipitaøiilor. Turnul clopotniøã situat deasupra pronaosului are pãrøile componente clar delimitate ši pridvorul pus în evidenøã cu cei 12 stâlpi legaøi prin arcade. În sec. al XIX-lea se construiešte pridvorul adosat intrãrii pe faøada vesticã, cu douã rânduri de arcade suprapuse cu deschideri diferite, dar identice ca formã ši decor. În anul 1783, conform inscripøiei de pe iconostas, zugravul Štefan din Šišešti, decoreazã interiorul altarului bisericii cu picturã de inspiraøie barocã. În naos ši pronaos, în aceeaši perioadã aløi pictori vor completa ansamblul pictural.
Mergând spre interior, ceea ce se remarcã sunt cele douã portaluri sculptate în lemn de stejar, pardoseala veche din lespezi de piatrã ši bolta naosului cu imaginea dominantã a Sfintei Treimi. Tavanul pronaosului conservã o interesantã picturã, ca reprezentare a sistemului solar în concepøie geometricã, cu planeta Pãmânt în centrul compoziøiei. În anul 1932, obišnuitele modificãri fãcute ši în alte biserici, se petrec ši aici, respectiv tãierea unor deschideri în peretele despãrøitor dintre pronaos ši naos ši instalarea unei tribune pentru cor, în naos. De asemenea se executã unele reparaøii, al cãror šir va continua de-a lungul timpului. În anul 1999 biserica de lemn din Šurdešti este înscrisã în lista patrimoniului mondial ši este încã folositã de credinciošii greco-catolici, fiind unica bisericã din sat.
Baia Mare
Az elôcsarnok fölötti harangtorony alkotóelemei világosan elkülönülnek, a tornácot 12 oszlop emeli ki, melyeket árkádok kötnek össze. A XIX. században a nyugati homlokzat bejárata elé tornácot építettek két egymás fölötti árkádsorral, melyek nyílásai különböznek, de formájuk és díszítésük megegyezik. Az ikonosztáz felirata szerint 1783-ban Lacfalvi Štefan festô barokkos stílusban festi ki a szentély belsejét. A hajóban (naos) és az elôcsarnokban (pronaos) ugyanakkor más festôk egészítik ki a falképegyüttest. A templomba befelé haladva felkelti a figyelmet a két tölgyfából faragott kapuzat, a kôlapokból rakott régi padló és a hajó boltozatát meghatározó Szentháromság ábrázolás. Az elôcsarnok mennyezetén a Naprendszer érdekes geometrikus ábrázolása maradt fenn, a kompozíció középpontjában a Föld bolygóval. 1932-ben a többi templomnál megszokott beavatkozásokat itt is végrehajtották, az elôcsarnok és a hajó közötti falra nyílásokat vágtak, illetve a hajóba énekeskarzatot emeltek. Ugyanakkor bizonyos javítási munkákat is végrehajtottak, melyeket késôbb is folytattak. 1999-ben a dióshalmi templomot – melyet a görög-katolikus hívek is használnak, az egyetlen templom lévén a faluban – beiktatták a világörökségi listába.
FIELD TRIP — 29th MAY EXCURSIE DE STUDIU — 29 MAI TALULMÁNYI KIRÁNDULÁS — MÁJUS 29.
The aim of the field trip is primarily to see the main timber church types of the Maramures region, but also to give a view of other specific architectural and cultural aspects of the region. Therefore the route passes through sites where we can visit timber churches listed as UNESCO heritage - Desešti, Bârsana, Budešti - but also some not included in the list, but representing interesting types, like that one in Calinešti; we will visit two newly built churches as well in Sapinøa and Bârsana. The participants will have the chance to see the famous Funny Cemetery, the open air museum in Sighetu Marmatiei, where they can see typical examples of the traditional vernacular architecture of the region.
Scopul deplasãrii este pe de o parte cunoašterea tipurilor de bisericã de lemn din Maramureš, pe de altã parte prezentarea altor aspecte arhitecturale ši culturale specifice regiunii. În acest scop vom vizita nu numai biserici de lemn aparøinând patrimoniului UNESCO – Desešti, Bârsana, Budešti –, ci ši altele care nu au fost incluse pe lista UNESCO, dar reprezintã tipuri interesante, cum este biserica de la Cãlinešti. Vom vizita ši douã biserici de lemn recent construite la Sãpânøa ši Bârsana. Vom vedea ši faimosul Cimitir Vesel, Muzeul în aer liber de la Sighetul Marmaøiei, unde putem vedea exemple diverse ale arhitecturii vernaculare din regiunea Maramurešului.
A kirándulás alkalmával egyrészt a máramarosi fatemplom-típusok megismerésére nyílik lehetôség, másrészt a régió más építészeti és kulturális aspektusainak a bemutatására. Az útvonal ezért nemcsak világörökségi fatemplomokat – Desesti/Desze, Bârsana/Barcánfalva, Budesti/ Budfalva – érint, hanem olyanokat is, amelyeket nem vettek fel az UNESCO listára, de a fatemplomok egy-egy érdekes típusát képviselik, ilyet látunk majd Calinestien/Felsôkálinfalván, illetve megnézünk két újonnan felépített fatemplomot is Barcánfalván és Szaploncán. Az út során megtekintjük a híres Vidám temetôt, a máramarosszigeti Szabadtéri múzeumot, ahol a valamikori máramarosi népi építészet számos példáját tekinthetjük meg.
Tusnad 2005
Baia Mare
Desešti — Desze Situated in the valley of the Mara river, Desešti is one of the biggest rural settlements in Maramureš. The village was first mentioned on the 20th of March 1360. It's surprising, that although the churches in the villages of Maramureš were all built of brickwork, the church in Desešti is the only wooden church declared to be a historic monument.
Situatã pe valea râului Mara localitatea Desešti este una dintre cele mai mari ašezãri rurale din Maramureš. Prima atestare documentarã a satului este 20 martie 1360. Surprinzãtor pentru timpul prezent, când în mai toate satele Maramurešului s-a construit câte o bisericã din zidãrie de cãrãmidã, în Desešti se aflã o singurã bisericã de lemn monument istoric.
A Mára patak völgyében fekvô Desze Máramaros egyik legnagyobb faluja. A település elsô okleveles említése 1360. március 20-ai. Meglepô, hogy míg Máramaros minden településén felépült egy-egy téglából falazott templom, addig Deszén egyetlen mûemlék fatemplom áll.
The Church of Holy Paraskeva was built in 1770, at such times when the form and structure of the wooden churches, characteristic of Maramureš, defined by the lifted walls and expressed on the outside through the double roof and the bell tower with Gothic influences, had already been elaborated. The quality of the carefully chosen timber, the creation of the assemblages and carved decorations, the proportions of different building elements were all executed remarkably, proving thus the artistic maturity of the builders and the painters. The massiveness and volumetric conception expressed in proportions and silhouette, the pictorial ensemble of great virtuosity, as well as the patrimony owned by the parish have all determined the inscription of the church in Desešti on the World Heritage List, among the eight churches of Maramureš. The monument, built on the terrace of a hill, in the middle of a churchyard was restored in its entirety between 1996 and 1998. The church walls are made of massive oak beams, carved on four sides and supported by a socle built of river gravel. The beams from the upper part of the walls, successively lengthened and shaped in the form of a staircase, form a console similar to the wings of a bird. These consoles support the roof structure. The roof has two levels over the pronaos and
Biserica Sf. Paraschiva a fost construitã la 1770 în momentul în care biserica de lemn tipicã pentru Maramureš, definitã prin supraînãløarea pereøilor, exprimatã în exterior prin acoperišul dublu ši turnul clopotniøã de influenøã goticã, fusese deja elaboratã atât ca formã cât ši ca structurã. Grija pentru calitatea lemnului ales, realizarea asamblãrilor, a decoraøiilor sculptate, proporøiile între diferitele elemente constructive, totul este executat remarcabil, dovedind maturitatea artisticã a constructorilor, dar ši a pictorilor. Masivitatea ši concepøia volumetricã exprimatã în proporøii ši siluetã, ansamblul pictural unitar de mare virtuozitate, cât ši patrimoniul de obiecte deøinut de parohie, au determinat înscrierea bisericii din Desešti pe lista patrimoniului mondial, între cele 8 biserici de lemn din Maramureš. Monumentul, amplasat pe terasa unei coline, în mijlocul cimitirului, a fost în întregime restaurat între anii 1996 - 1998. Pereøii bisericii sunt construiøi din bârne groase de stejar cioplite pe patru feøe ši sprijinã pe un soclu din piatrã de râu. Bârnele de la partea superioarã a pereøilor, succesiv prelungite ši fasonate în formã de scarã, formeazã console asemãnãtoare aripilor de pãsãri. Aceste console susøin šarpanta acoperišului. Acoperišul tratat în douã registre peste pronaos ši naos, trece într-un acoperiš propriu pe altar, de mai
A Szent Piroska (Paraschiva) templom 1770-ben épült, akkor, amikor a máramarosi fatemplomok típusa – melyre a magasított falak, a kettôs tetôzet és a gótikus hatású harangtorony jellemzô – már mind formailag, mind szerkezetileg kialakult. Az épületfa gondos kiválasztása, a kötések elkészítése, a faragott díszítés, az épületelemek közötti arány valamennyi csodálatra méltó megoldás, bizonyítva az építôk és a festôk mûvészi érettségét. Az arányok és a sziluett által meghatározott impozáns megjelenés és tömegelosztás, az egységes, magas mûvészi színvonalú falképegyüttes és a parókia birtokában levô kegytárgyak értékes gyûjteménye tette méltóvá a mûemléket, hogy felkerüljön a nyolc máramarosi fatemplom között a világörökségi listára. A dombteraszon álló, temetôvel kerített mûemléket teljesen felújították 1996–98 között. A templom falait hordalékkövekbôl rakott lábazatra vastag, négy oldalukon faragott tölgygerendákból építették. A fal felsô részén levô, folytonosan meghosszabbított és lépcsôzetesen kialakított gerendák madárszárnyakhoz hasonló gyámokká állnak össze. Ezek a gyámok tartják a tetôszerkezetet. Az elôcsarnok és a hajó fölötti kettôs tetôbôl kinyúlik a szentély fölötti
Tusnad 2005
Baia Mare
naos and becomes a one-level roof over the altar, which is lower and adjusted to the polygonal plan of the latter. The roof is covered with pine shingles. It plays a huge part in the definition of the silhouette of the ensemble. The rectangular structure of the church forms the pronaos, the naos and the pentagonal altar. The church can be entered through the large and impressively decorated portal on the western façade. The church is one of the few churches, which wasn't changed with the attachment of a porch, as was the custom at those times. Openings were cut in the dividing wall between the pronaos and naos in 1920, protected by forged metal bars. Unfortunately, some parts of the murals were destroyed in the process. Similarly, a gallery was built on the western wall of the naos in 1920, which affected a part of the wall-paintings. The walls of the naos are built in two levels, the upper one supporting the weight of the tunnel vaults at the console. One of the most beautiful, picturesque and complete ensembles of murals, identified by the inscription of the painters' names, is to be found in this wooden church. Through its composition and color scheme, this decoration is similar to the naïve painting and folk art and expresses a rustic cultural environment, characteristic of this part of Romania in the 18th century.
micã înãløime ši adaptat la planul poligonal al acestuia din urmã. Întreaga învelitoare este realizatã din šindrilã de brad. Acoperišul are un rol major în definirea siluetei ansamblului. Corpul rectangular al bisericii formeazã pronaosul, naosul ši altarul pentagonal decrošat. Accesul se face direct prin portalul impresionant ca gabarit ši decoraøie, de pe faøada vesticã. Biserica este una dintre puøinele care n-a suportat modificarea de plan prin adãugarea unui pridvor, aša cum se obišnuia. În pronaos, pe peretele ce-l desparte de naos, s-au practicat deschideri în anul 1920, protejate de bare de fier forjat. Din nefericire, porøiuni de picturã muralã au fost distruse. Tot în anul 1920, pe peretele vestic al naosului a fost ridicatã tribuna corului care a afectat o parte din picturã. Naosul are pereøii dezvoltaøi pe douã registre, cel superior – în consolã suportã greutatea boløii semicilindrice. Unul dintre cele mai frumoase, pitorešti ši complete ansambluri de picturã muralã identificat de inscripøii cu numele pictorilor, se aflã în aceastã bisericã de lemn. Apropiatã de pictura naivã ši de arta popularã prin tratarea compoziøionalã ši gama cromaticã, aceastã decoraøie exprimã un cadru cultural øãrãnesc specific secolului al XVIII -lea în aceastã parte a României.
alacsonyabb, annak sokszöges záródásához illô tetô. A héjazat fenyôzsindely. A tetônek nagy szerepe van az épület sziluettjének meghatározásában. Az elôcsarnok, a hajó és az ötszöges, behúzott szentély adják a templom szögletes tömegét. A nyugati homlokzat felôli, lenyûgözô méretû és díszítésû kapuzaton keresztül lépünk be a templomba. Az épület azon kevés templom közé tartozik, amelyhez nem illesztették hozzá a szokásos tornácot, mely megváltoztatta volna az alaprajzot. Az elôcsarnokot a hajótól elválasztó falba 1920-ban nyílásokat vágtak, melyeket kovácsoltvas rudak óvnak. Sajnos a nyílások átvágták a falképeket. Ugyancsak 1920-ban a hajó nyugati falához énekeskarzatot illesztettek, amely szintén roncsolta az érintett festett falfelületeket. A hajó falai két egymás fölötti regiszterre oszlanak, a felsô konzolosan tartja a félköríves boltozatot. Ebben a templomban található az egyik legszebb, legfestôibb és legteljesebb falkép-együttes, melynek felirataiból a festôket is azonosítani lehet. Kompozíciójában és színvilágában a naiv festészethez és a népmûvészethez közel álló falképek felidézik Románia e részének XVIII. századi paraszti kulturális hagyományait.
Sãpânøa— Szaplonca Sãpânøa is a commune in NW extremity of Romania (Maramures County), situated on the river Tisa at 18 km from the city of Sighetu Marmatiei. Near Sapanta were found items from the Bronze Age. The first documented appearance of the village is form the year of 1373, when the inhabitants of "Zapancha" had a territorial conflict with the Saxon and Hungarian colonists. Numerous noble families are mentioned in the middle age documents of this important village, whit a high number of water mills. In the beginning of the 13th Century, in the neighbouring village, Peri (today Grusevoe in Ukraine), was a small monk community, which founded the most important orthodox monastery in the region, dedicated to Archangel Saint Michael. The territory of Peri was owned by the Dragos dynasty. The monastery had a religious-school and typography, where in the year of 1696 were edited two religious books in Romanian language.
Comuna Sãpânøa este asezatã pe malul drept al Tisei, la aproximativ 18 km distanøã de municipiul Sighetu Marmaøiei. Prezenøa omului pe meleagurile sãpânøene a lãsat urme încã din epoca bronzului. Cea mai veche atestare documentarã a localitãøii este din anul 1373, când „Zapancha” este menøionat în legãturã cu un conflict legat de proprietãøi, între localnici ši coloništii saši ši maghiari. Documentele medievale înregistreazã o muløime de familii nobile în Sãpânøa, fiind o localitate importantã, cu mai multe mori de apã. La începutul secolului XIII., în localitatea vecinã, Peri (actualmente în Ucraina) exista o modestã ašezare monahalã. Din aceastã sihastrie a luat fiinøã importanta Mãnãstire a Perii Maramurešului, cu hramul Sfântul Mihail. Teritoriul Perilor era o mošie a dinastiei voievodale a Dragosestilor. În mãnãstirea Peri a funcøionat o šcoalã teologicã ši a existat ši o tipografie, unde în anul 1696 sau editat douã cãrøi bisericešti tipãrite în
Szaplonca község a Tisza bal partján helyezkedik el, 18 km-re Máramarosszigettôl. Szaplonca környékén bronzkori leleteket tártak fel. A helység elsô írásos említése 1373-as, amikor „Zapancha” lakosai és szász, illetve magyar telepesek közötti birtokviszályról hallunk. A középkori oklevelek több nemesi családot említenek Szaploncán, a környék fontos településén, ahol több vízimalom is ôrölt. A XIII. század elején a szomszédos településen, Szentmihálykörtvélyesen (románul Peri, ma Ukrajnában van, neve Grusevoe) már létezhetett egy szerényebb remeteközösség. Ebbôl fejlôdött ki a környék legjelentôsebb kolostora, a Szent Mihálynak ajánlott szentmihálykörtvélyesi kolostor. Szentmihálykörtvélyes területe a Dragos dinasztia birtokában volt. A kolostorban egyházi iskola és nyomda is muködött, ahol 1696-ban két román nyelvû, vallásos témájú könyvet nyomtattak ki. A
Tusnad 2005
Baia Mare
The monastery of Peri in the time of Rákóczi-rebellion was set on fire, and the walls of the church were demolished. After a few decades the monastery was rebuilt at Sapanta. The commune of Sapanta has an original, one-of-its-kind cemetery (The Merry Cemetery) which was craftsman Stan Patras's (a local wood-carver) idea in 1935. The crosses carved and coloured by Stan Patras and his apprentices represent in caricature the good aspects and especially the imperfections of the deceased. This cemetery is included in the UNESCO World Heritage List, and the Conference of the Burial Monuments (USA, 1998) declared it the most important European cemetery-site, and world-wide the second most important after the King's Valley in Egypt. Unfortunately, this open-air Museum is affected by the weather, the bases of the crosses are in bad condition, and the sunrays are diminishing the original colours. This endangered monument reflects about the necessity of the permanent conservation work. The commune of Sapanta is also famous for its cottage industry turning out beautiful traditional woollen blankets, men's folk hats and folk costumes. A few years ago, at Sapanta started the construction-works of the new Peri monastery, lead by the architect Cordos Dorel.
limba românã. Existenøa Mãnãstirii Peri a fost curmatã în anul 1703, în timpul rãscoalei antihabsburgice condusã de Ferenc Rákóczi al II-lea, biserica a fost arsã din temelii iar zidurile rãmase în picioare au fost demolate. Mãnãstirea avea sã renascã din cenušã peste câteva decenii în Sãpânøa. Prin 1935, un sculptor localnic în lemn, Stan Ion Patraš, a cioplit primul epitaf pe o cruce de lemn din Sãpânøa, de atunci viaøa sãpânøenilor a început sã fie imortalizatã cu daltã pe crucile Cimitirului Vesel. Crucile cu epitafuri sunt pictate de regulã în culori vii, transformând cimitirul într-un loc vesel de meditaøie ši aduceri de aminte. Vestitul cimitir se aflã în centrul comunei, la biserica parohialã. Cimitirul are peste 800 de cruci sculptate în lemn de stejar, pictate ši versificate prin încrustare. Prin specificul sãu acest cimitir este unicat în lume ši face parte din patrimoniul cultural universal al UNESCO, iar la Simpozionul Monumentelor Funerare (SUA, 1998), a fost clasat primul în Europa ši al doilea din lume dupã cel din Valea Regilor, din Egipt. Din pãcate acest muzeu în aer liber este expus intemperiilor, partea inferioarã a crucilor în timp începe sã putrezeascã, au de suferit picturile prin expunerea directã ši neuniformã la razele solare. Procesul de degradare este continuu astfel, versurile devin tot mai puø in vizibile. Acest fapt atrage dupã sine necesitatea întreøinerii continue a cimitirului. Acum câøiva ani, la Sãpânøa s-a întreprins reconstruirea Mãnãstirii Peri, dupã un proiect semnat de arhitectul Cordoš Dorel.
szentmihálykörtvélyesi kolostor mûködése 1703-ban szakadt meg, a Rákóczi-féle szabadságharc idején, amikor a templomot felégették, majd a fennálló falakat az alapokig lerombolták. A kolostor néhány évtized múlva Szaploncán éled újjá. 1935-ben egy helyi faszobrász, Stan Ion Patras véste az elsô sírverset egy szaploncai fakeresztbe, és azóta örökítik meg a helyiek életét a Vidám Temetô keresztjein. A sírverses kereszteket életteli színekkel festették, és a temetô az emlékezés vidám helyévé vált. A nevezetes temetô a falu közepén áll, a plébániatemplom körül. A Vidám Temetôben több mint 800 festett, humoros sírversekkel ellátott tölgyfakereszt áll. Ez a temetô egyedülálló a világon, az UNESCO kulturális világörökségi nyilvántartásában is szerepel, és a Síremlékek Konferenciája (Egyesült Államok, 1998) a legfontosabb európai temetôvé nyilvánította, amely világszinten az egyiptomi Királyok Völgye után következik. Sajnos ez a szabadtéri múzeum ki van téve az idôjárás viszontagságainak, a keresztek alja idôvel elkezdett korhadni, míg a színezés az egyenlôtlenül esô napsugarak ártó hatására veszít az intenzitásából. Az emlékek pusztulása így folyamatos, a sírversek egyre nehezebben olvashatók. A folyamat megállítása a temetô állandó karbantartását követeli meg. Néhány éve Szaploncán elkezdték a szentmihálykörtvélyesi kolostor újjáépítését, Cordos Dorel építész tervei alapján.
Sighetu Marmaøiei—Máramarossziget Located on the border with Ukraine in Maramures County, Sighetu Marmatiei is a city of 40,000 inhabitants, surrounded by rural communities that are the home of one of the most intact peasant cultures of Europe. The territory of the city is
Tusnad 2005
Municipiul Sighetu Marmaøiei se situeazã la graniøa de nord a României, la confluenøa râurilor Iza ši Tisa. Ašezarea fortificatã de pe dealul Cetãøii Solovan din Sighet dateazã din perioada târzie a bronzului. În documente, localitatea Sighet
Baia Mare
Máramarossziget városa Románia északi határán helyezkedik el, az Iza és a Tisza folyók találkozásánál. A város mellett késôbronzkori erôdített települést tártak fel. Az oklevelekben Máramarossziget 1326-ban jelenik meg,
inhabited from the Bronze Age. It is the most Northern town in Romania, first stated in historic deeds in 1328. In 1352 it was declared a Free Royal Town, capital of Máramaros County. In 1406 it was stated again, under the name of "Plebans de Dyguet". The church situated in the middle of the town, built according to some researchers between 1050 and 1150, was at the beginning a Gothic building; then it was subject to destroy and subsequent rebuildings. This, together with the Baroque buildings that surround it, make Sighetu Marmatiei a picturesque and pleasant place to be. In 1910 the settlement was a town in the Máramaros County of the Kingdom of Hungary. Inhabitants in 1910: 21,370; 17,542 (82,1%) Hungarians, 2,001 (9,4%) Rumanians, 1,257 (5,9%) Germans, 532 (2,5%) Ruthenians and 38 (0,2%) other by mother tongue, 7,981 (37,3%) Jews, 5,850 (27,4) Greek Catholics, 4,901 (22,9%) Roman Catholics, 2,266(10,9%) Calvinists and 372 (1,7%) other by religion. Among the interesting places to be visited, we can list: – The Reformed Church (16th century) – The Catholic Church (16-18th century) – The old city hall (18th century) that nowadays hosts the Estate Archives – Maramures Museum – The Ethnographical Museum with outdoors exhibits
apare în anul 1326, regele Ludovic I în 1359 îi acordã privilegii orãšenešti (întãrite de Matei Corvin în 1472), iar în 1385 devine rešedinøã de comitat. În 1730 se ašeazã aici 9 piaristi construind biserica romano-catolicã ši šcoala piaristã. În 1778 catolicii din Sighet numãrau 1280 de suflete, iar calvinii 926. În 1852 Sighet erau 1000 de case cu 1250 familii si 7250 suflete (2460 romanocatolici, 1690 greco-catolici români ši ruteni, 1600 calvini ši 1500 evrei). Centrul vechi al orašului s-a pãstrat în întregime. Clãdirea monumentalã a fostei prefecturi, pãstreazã pe fronton stema Maramurešului. Pe strada Ioan Mihalyi de Apsa nr. 17 se aflã casa-muzeu „Dr. Ioan Mihalyi de Apsa”, care la parter are o galerie de artã, iar la etaj o expoziøie de istoria culturii locale. Clãdirea Primãriei (fostul Tribunal Comitatens), are în prelungire închisoarea de tristã amintire, construitã între 1896-1899. Este formatã din trei corpuri dispuse în forma de T cu 108 celule. Dupã instaurarea regimului comunist aici a fost închisã elita intelectualã ši politicã româneascã dintre cele douã rãzboaie mondiale. În faøa Primãriei se aflã biserica ucraineanã, iar pe Calea Dragoš Vodã, vechea bisericã româneascã, fosta unitã, construitã în stil neogotic, pictatã în frescã. Biserica ziditã de mešteri italieni a fost sfinøitã în 1892. Singura sinagogã pãstratã a fost construitã în 1885, reparatã ši restauratã de mai multe ori. Alte clãdiri mai importante sunt gara orašului (sec. XIX.), clãdirile Spitalului municipal (sec. XIX.), Liceul Dragoš Vodã (sec. XIX.) ši Palatul Culturii construit în 1911 (în care se înfiinøeazã Muzeul Etnografic în 1926).
1359-ben Nagy Lajos király városi kiváltságokkal ruházza fel (melyeket Mátyás 1472-ben megerôsít), 1385-ben pedig vármegyei székhellyé válik. 1730-ban kilenc piarista telepedik le a városban, akik megépítik a katolikus templomot és a piarista iskolát. 1852-ben Máramarosszigeten 1000 házat számoltak össze 1250 családdal, 7250 lélekkel (2460 római-katolikus, 1690 görög-katolikus román és ruszin, 1600 református és 1500 zsidó). Máramarosszigetet turisztikai településsé nyilvánították. A máramarosszigeti református templom egyes vélemények szerint a XII. században épült, romanikus stílusban, a XIV-XV. században a tornyát gótikus stílusban újjáépítették (mára csak a torony alsó része és az ablakok maradtak meg). A város régi központja teljes egészében fennmaradt. A Ioan Mihalyi de Apsa utca 17 sz. alatt áll a Dr. Ioan Mihalyi de Apsa emlékház. A Polgármesteri Hivatal épületének (a volt Vármegyebíróság) folytatásában áll a szomorú emlékû börtön, mely 1896-1899 között épült. A kommunista rezsim hatalomra kerülése után itt volt elzárva a két világháború közötti Románia értelmiségi és politikai elitje. A Polgármesteri Hivatallal szemben áll az ukrán templom, a Dragos vajda úton a régi román templom. Az egyetlen fennmaradt zsinagóga 1885-ben épült, több ízben javították és helyreállították. Fontos épületek még az állomás (XIX. sz.), a városi kórház (XIX. sz.), a Dragos Vajda Líceum (XIX. sz.) és az 1911-ben épült Kultúrpalota, ahol 1926-ban megnyitották a Néprajzi Múzeumot.
Bârsana— Barcánfalva This rural settlement was first mentioned in 1326, when the Hungarian king Charles Robert Anjou gave the village to a certain Stan Bârsan. The Church of the Presentation of the Virgin at the Temple was built in 1720, as an Orthodox monastery church. For a while the monastery was the residence of Uniate monks. Then the church was moved into the village at the beginning of the 19th century and was used as a parochial church. In 1806 the interior of the church was decorated with an ensemble of tempera paintings. The pictoral ensemble was created, according to the inscriptions and the comparative
Ašezarea ruralã Bârsana cunoašte prima atestare documentare în anul 1326, când regele Ungariei Carol Robert de Anjou dã acest sat unui anume Stan Bârsan. Biserica cu hramul „Intrarea Maicii Domnului în Bisericã” („Prezentarea Fecioarei la Templu”) a fost construitã în anul 1720, pentru a servi ca bisericã de mãnãstire ortodoxã. O vreme, mãnãstirea a fost servitã de cãlugãri uniaøi. Dupã dezafectarea mãnãstirii, biserica a fost mutatã în sat, la începutul secolului al XIXlea, pentru a fi folositã drept bisericã parohialã. În anul 1806 interiorul bisericii a cãpãtat un ansamblu decorativ de picturã în tempera. Ansamblul pictural a fost realizat,
Barcánfalva az oklevelekben 1326ban tûnik fel, amikor I. Károly magyar király a falut Barcáni Stannak adományozza. A Mária bemutatása a templomban elnevezésû templomot 1720-ban építették ortodox (bazilita) kolostori templomként. Egy ideig a kolostort görög egyesült szerzetesek használták. A kolostor kiürítése után, a XIX. század elején a templomot a faluba szállították plébániatemplomnak. 1806-ban a templom belsejét temperaalapú díszítôfestéssel látták el. A feliratok és az összehasonlító mûvészettörténeti kutatások alapján a falképegyüttest a
Tusnad 2005
Baia Mare
study of art history, by two well-known painters in this region and is one of the few preserved Baroque paintings. The walls made of massive dovetailed oak beams stand on a stone socle, materializing in small dimensions and with a double roof a church, belonging to the group of wooden churches characteristic of the northern regions. Some changes were carried out in 1900: a porch with a storey was attached to the building; on the western façade the porch has wooden pillars connected with arches. The parapet of the porch is built of fret-sawn planks. The reparations and changes carried out in 1900 brought along some losses. Thus through the enlargement of the windows, fragments of the interior painting were cut out. The name of the man who led the team of craftsmen and the year 1900 are carved at one of the windows. Out of the three rooms of the interior, the pronaos is the smallest and is completely dark (without windows). The naos and the sanctuary receive light through small triangular windows. The village of Bârsana was wellknown in Maramureš for its constructors and hewers, and the tradition of this trade hasn't died out. The building of a monastery ensemble between Bârsana and the neighboring village, Strâmtura in 199596 proves this fact, but at the same time it revives the past of the developed monastery life of the historic Maramureš. The wooden church from Bârsana was restored through a complex structural intervention. The murals were restored simultaneously. The church was inscribed on the World Heritage List in 1999, especially for the value of its murals.
Tusnad 2005
conform inscripøiilor ši studiului comparativ de istoria artei, de doi zugravi vestiøi în zonã ši este unul dintre puøinele picturi în stil baroc pãstrate. Pe un soclu de piatrã se ridicã pereøii din bârne masive de stejar, îmbinate în coadã de rândunicã, realizând în dimensiuni reduse ši cu un acoperiš dublu, o bisericã ce aparøine grupei de biserici de lemn tipice pentru extrema nordicã a regiunii. În anul 1900 se executã unele modificãri: adãugarea unui pridvor cu etaj, pe faøada de vest pridvorul are stâlpi de lemn articulaøi prin arcade. Parapetul pridvorului este realizat din scânduri traforate. Reparaøiile ši schimbãrile petrecute la 1900 au cauzat ši unele pierderi. Astfel, prin lãrgirea ferestrelor, au fost tãiate fragmente din pictura interioarã. Numele celui care a condus echipa de mešteri de atunci ca ši anul 1900 sunt gravate în lemn lângã una dintre ferestre. Între cele trei încãperi ale spaøiului interior, pronaosul are cele mai mici dimensiuni ši este complet întunecat (fãrã ferestre). Naosul ši sanctuarul sunt prevãzute cu ferestre mici triunghiulare. Localitatea Bârsana a fost renumitã în Maramureš, pentru constructorii ši cioplitorii în lemn, iar tradiøia meštešugului nu s-a pierdut. Construirea unui ansamblu mãnãstiresc între Bârsana ši satul învecinat, Strâmtura, în anii 1995–96 este un exemplu al acestui fapt, dar ši o restituire a trecutului vieøii mãnãstirešti foarte dezvoltatã în Maramurešul istoric. Biserica de lemn din Bârsana a fost restauratã printr-o intervenøie complexã la structurã. Concomitent s-a declanšat ši restaurarea picturii murale. Biserica a fost înscrisã pe lista patrimoniului mondial ]n anul 1999, îndeosebi pentru valoarea picturilor murale.
Baia Mare
környék két fontos templomfestôje munkájának tarthatjuk, és a kevés fennmaradt barokk stílusú festészeti emlékünk egyike. Máramaros északi részének jellegzetes templomait kisebb méretben és kettôs tetôzettel idézô épület fecskefarkasan összeillesztett vaskos tölgygerenda falai kôlábazaton emelkednek. 1900-ban változtatásokat hajtottak végre az épületen: emeletes tornácot illesztettek a templom elé, amely nyugati homlokzatának faoszlopait árkádok kötik össze. A tornác mellvédjét átlyukasztott deszkák díszítik. Az 1900-as javítások és átalakítások sajnálatos veszteségeket is okoztak: az ablakok szélesítésével a belsô falképeket roncsolták. Az 1900-as évszámot és az átalakításokat végzô mesterek nevét az egyik ablak mellé bevésték a fába. A három belsô tér közül az elôcsarnok a legkisebb, és ablakok híján teljesen sötét. A hajót és a szentélyt kis háromszögletû ablakok világítják meg. Barcánfalva építômesterei és fafaragói révén nagy hírnevet szerzett Máramarosban, és a hagyományos mesterségek itt ma is élnek. Bizonysága ennek a Barcánfalva és egy szomszédos település, Szurdok (Strâmtura) közé 1995–96-ban felépített kolostor, amely megpróbálja visszaállítani a történeti Máramaros gazdag kolostori tevékenységét is. A barcánfalvi fatemplom szerkezetén átfogó helyreállítást hajtottak végre. Ezzel egy idôben elkezdôdött a falképek restaurálása is. 1999-ben a templomot fölvették a világörökség listájára, leginkább értékes falképeinek köszönhetôen.
Cãlinešti — Kálinfalva
Built as a monastery church in 1390, the Church of the Nativity of the Virgin Mary was originally situated at a distance of 3 km from Calinešti. The church was moved into the village and became the parochial church of the Orthodox community in 1665. A porch was attached to the small church, on the northern and southern façades, along the pronaos and the nave in 1800-1815. The late-Byzantine murals of the church date back to 1754 and are the first work of the painter Alexandru Ponehalschi.
Biserica „Našterea Mãicii Domnului” a fost construitã la o distanøã de 3 km de la satul Cãlinešti în anul 1390, pentru a servi ca bisericã de mãnãstire. Biserica a fost mutatã în sat în 1665, pentru a fi folositã drept bisericã parohialã de cãtre comunitatea ortodoxã. Între 1800-1815 a fost adãugat un pridvor pe faøada nordicã ši sudicã a bisericii, de-a lungul pronaosului ši al navei. Pictura muralã bizantinã din bisericã este prima creaøie a zugravului de biserici, Alexandru Ponehalschi din 1754.
A kálinfalvi Mária születése templom eredetileg a Kálinfalvától 3 kilométerre levô, elôször 1390-ben említett kolostor templomaként épült. A templomot 1665ben hozták be a faluba, a helyi ortodox közösség plébániatemplomaként. A kis méretû templomot 1800–1815-ben az északi oldalon és a déli oldalon, az elôcsarnok és a hajó mellett egy tornáccal bôvítették ki. A templom késô-bizánci stílusú falképei Alexandru Ponehalschi templomfestô elsô, 1754-bôl származó munkája.
Budešti— Budfalva The settlement was first mentioned in 1361. The wooden church of Saint Nicholas stands on a headland in the center of the village and in the middle of a churchyard, where stone and wooden crosses can be seen, which are at least 200 years old. It is one of the churches, which has always functioned as a parochial church and it is still used as one. This monument remains an outstanding example of the churches of Maramureš, which preserved its original form and large dimensions. The enlarged inner space can be observed from the outside through the double roof. The church walls are made of large oak beams, carved on four sides. The northern and southern walls are lifted on two superposed levels. All around, wooden
Localitatea este atestatã documentar în anul 1361. Biserica de lemn cu hramul „Sfântul Nicolae” este amplasatã pe un promontoriu în centrul satului ši este înconjuratã de un cimitir cu exemplare de cruci de piatrã ši de lemn, vechi de cel puøin 200 de ani. Este una dintre bisericile care a funcøionat neîntrerupt ca bisericã parohialã ši încã este în uz. Acest monument rãmâne un exemplu elocvent de bisericã maramurešeanã care šia conservat forma originarã ši largile dimensiuni. Spaøiul interior supraînãløat se citešte la exterior prin acoperišul dublu. Pereøii bisericii sunt confecøionaøi din bârne de mari dimensiuni de stejar, cioplite pe patru feøe. Pereøii de nord ši sud sunt ridicaøi pe douã registre suprapuse. De jur-împrejur, console de lemn susøin greutatea acoperišului. Diferitele pãrøi componente
A helység elsô okleveles említése 1361-ból való. A Szent Miklósnak szentelt fatemplom a falu közepén egy kisebb dombon áll, temetô övezi, melynek kô- és fakeresztjei legkevesebb 200 évesek. A templom folyamatosan plébániatemplomként mûködött, és ma is használatban van. A mûemlék a máramarosi templomok jellegzetes példája, amely megôrizte eredeti formáját és nagy méretét. Belsejének figyelemreméltó magassága a kettôs tetô révén kívülrôl is érvényesül. A templom falai négy oldalukon faragott vaskos tölgygerendákból készültek. Az északi és a déli falakat két egymás fölötti regiszterben emelték. Körben fakonzolok tartják a tetôt. A külsô különbözô fa alkotóelemei, illetve a fakapuzatok keretei faragványokkal és bemetszésekkel díszítettek. A templom
Tusnad 2005
Baia Mare
consoles carry the weight of the roof. Different structural components of the exterior, as well as the frame of the portal are decorated with wooden carvings and incisions. Important dates concerning the identity of the church were carved into the massive wooden frame of the large and impressive portal of the church. An old curiosity is the floor made of stone slabs, which was later covered with a wooden floor. The interior is decorated with murals. Alexandru Ponehalschi, one of the most famous church painters and iconographers painted the pronaos, naos and iconostas in 1762, while the sanctuary was decorated by Ioan Opriš, another artist, in 1832. Certain changes have been made throughout the years: a gallery was built on the western wall of the naos and openings were cut in the dividing wall between the pronaos and naos, which affected the paintings in that area. These changes were made, so that the women, who respected the space division and stayed in the pronaos, could better see and hear the religious service, which was held in the naos and the sanctuary. The roof was mended and the windows were enlarged in 1922. The building structure, roof and bell tower were restored between 1997 and 1999. The stone floor is emphasized within these considerable restoration works. At the end of 1999, the wooden church from Budešti Josani is inscribed on the World Heritage List.
Tusnad 2005
ale exteriorului, ca ši ancadramentele de portaluri sunt decorate cu cioplituri ši incizii în lemn. Portalul de intrare în bisericã, de o robusteøe monumentalã, pãstreazã în inscripøii sãpate în lemnul gros al ancadramentului, date importante pentru identitatea bisericii. Tot un element de vechime este considerat cel al pardoselii din lespezi de piatrã, care au fost în timp acoperite cu o pardosealã de lemn. Interiorul este decorat cu picturã muralã. În anul 1762, unul dintre cei mai faimoši zugravi de icoane ši biserici, Alexandru Ponehalschi, picteazã pronaosul, naosul ši iconostasul, iar sanctuarul este decorat în anul 1832 de un alt artist – Ioan Opriš. Câteva au fost modificãrile întreprinse de-a lungul timpului: tribuna pentru cor ridicatã pe peretele vestic al naosului ši deschiderile practicate în peretele despãrøitor dintre pronaos-naos, deschideri însã care au afectat pictura existentã în acele zone. Acest lucru a fost fãcut pentru ca femeile care respectau împãrøirea spaøiului ši deci rãmâneau în pronaos, sã vadã ši sã audã mai bine desfãšurarea serviciului divin, care se petrece în naos ši sanctuar. În anul 1922 se reparã acoperišul ši se mãresc ferestrele. Între anii 1997- 1999, o restaurare de anvergurã se materializeazã în intervenøii la structurã, acoperiš ši turnul clopotniøã. Pardoselile de piatrã sunt puse în valoare cu aceastã ocazie. La sfâršitul anului 1999, biserica de lemn din Budešti Josani este înscrisã pe lista patrimoniului mondial.
Baia Mare
monumentális bejárati ajtajának vaskos keretébe vésett értékes adatok fontosak a templom történetének megismeréséhez. Nagyon réginek tûnik a kôlapokból álló padló, amelyet egy ideig deszkapadló borított. A belsôt falfestés díszíti. 1762-ben Alexandru Ponehalschi, az egyik leghíresebb ikon- és templomfestô dolgozott az elôcsarnokon (pronaosz), a hajón (naosz) és az ikonosztázon, a szentélyt pedig 1832-ben egy másik mûvész, Ioan Opriš díszítette. Az idôk során az épületen néhány átalakítást végeztek: a hajó nyugati falához énekeskarzatot illesztettek, az elôcsarnokot és a hajót elválasztó falba pedig nyílásokat vágtak, amelyek azonban nem károsították a környékükön levô festést. A nyílások vágására azért volt szükség, hogy azok az asszonyok, akik tiszteletben tartva a belsô tér hagyományos osztását, az elôcsarnokban maradtak, láthassák és halhassák a hajóban és a szentélyben lejátszódó istentiszteletet. 1922-ben kijavították a tetôt és megnagyobbították az ablakokat. Az 1997–1999 között nagyszabású helyreállítást hajtottak végre a tartószerkezeten, a tetôn és a harangtornyon. Ekkor a kôpadlót is érvényesítették. 1999 végén a budfalvi fatemplom is felkerül a világörökség listájára – a máramarosi többi 7 templom mellé.
