an architect of the european avant-garde in oradea: mende valér
an architect of the european avant-garde in oradea: mende valér
an architect of the european avant-garde in oradea: mende valér
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JAES_1(14)_1_2011 SECTION<br />
NOVICOV R., pp.23-34 Architecture <strong>an</strong>d Urb<strong>an</strong> Pl<strong>an</strong>n<strong>in</strong>g<br />
AN ARCHITECT OF THE EUROPEAN AVANT-GARDE<br />
IN ORADEA: MENDE VALÉR<br />
ARTICLE INFO A B S T R A C T<br />
Article history:<br />
Accepted: March 2011<br />
Available onl<strong>in</strong>e: July 2011<br />
Keywords: curta<strong>in</strong>-type<br />
façade, sgraffito, Kecskemet,<br />
Viennese av<strong>an</strong>t-<strong>garde</strong>,<br />
modular build<strong>in</strong>g w<strong>in</strong>gs<br />
NOVICOV Ramona 1<br />
Know<strong>in</strong>g <strong>the</strong> connections between <strong>the</strong> <strong>architect</strong>ural heritage <strong>of</strong><br />
Oradea with <strong>the</strong> one belong<strong>in</strong>g to Central Europe is <strong>an</strong> eleg<strong>an</strong>t <strong>an</strong>d<br />
<strong>in</strong>telligent way to overcome <strong>the</strong> spiritual, cultural <strong>an</strong>d historical<br />
prejudices. Mende Valer is one <strong>of</strong> <strong>the</strong> Europe<strong>an</strong> av<strong>an</strong>t-<strong>garde</strong><br />
<strong>architect</strong>s who worked <strong>in</strong> Oradea, mark<strong>in</strong>g <strong>the</strong> routes <strong>of</strong> <strong>the</strong><br />
<strong>in</strong>ternational <strong>architect</strong>ure connected to <strong>the</strong> mutual, most precious<br />
legacy: <strong>the</strong> Central-Europe<strong>an</strong> cultural heritage. This study presents<br />
two <strong>of</strong> <strong>the</strong> most representative build<strong>in</strong>gs designed by Valer Mende<br />
<strong>in</strong> Oradea, namely his first <strong>an</strong>d last, <strong>in</strong> order to emphasize <strong>the</strong> rapid<br />
em<strong>an</strong>cipation <strong>of</strong> <strong>the</strong> <strong>architect</strong>ural l<strong>an</strong>guage used by <strong>the</strong> <strong>architect</strong> by<br />
embrac<strong>in</strong>g <strong>the</strong> Viennese av<strong>an</strong>t-<strong>garde</strong> vision <strong>an</strong>d its entry <strong>in</strong> Oradea.<br />
It is worth underl<strong>in</strong><strong>in</strong>g <strong>the</strong> stylistic <strong>an</strong>d urb<strong>an</strong> value <strong>of</strong> <strong>the</strong> curta<strong>in</strong>type<br />
façade, <strong>the</strong> symbolic signific<strong>an</strong>ce <strong>of</strong> <strong>the</strong> decoration, <strong>the</strong><br />
sgrafitto technique <strong>of</strong> rustic-medieval <strong>in</strong>spiration as well as <strong>the</strong><br />
modern modular concept seen <strong>in</strong> Roth House. The study also<br />
comprises a parallel between Valer Mende’s work <strong>in</strong> Oradea <strong>an</strong>d <strong>the</strong><br />
Hungari<strong>an</strong> town <strong>of</strong> Kecskemet, where <strong>the</strong> <strong>architect</strong> erected two <strong>of</strong><br />
<strong>the</strong> most signific<strong>an</strong>t build<strong>in</strong>gs <strong>of</strong> <strong>the</strong> Hungari<strong>an</strong> Secession: Calv<strong>in</strong><br />
College <strong>an</strong>d Lu<strong>the</strong>r Palace. It renders <strong>the</strong> connections <strong>an</strong>d<br />
similarities <strong>of</strong> symbolic shape <strong>an</strong>d expression by establish<strong>in</strong>g <strong>the</strong><br />
stylistic parallel between Oradea <strong>an</strong>d Kecskemet.<br />
INTRODUCTION<br />
Belong<strong>in</strong>g to Secession <strong>architect</strong>ure <strong>of</strong> Oradea <strong>an</strong>d especially due to<br />
<strong>the</strong> <strong>in</strong>tr<strong>in</strong>sic value <strong>of</strong> his creations, Mende Valér (1886, P<strong>in</strong>koc – 1918,<br />
Vienne) seems to be one <strong>of</strong> <strong>the</strong> most lucid <strong>an</strong>d dar<strong>in</strong>g <strong>architect</strong>s at <strong>the</strong><br />
beg<strong>in</strong>n<strong>in</strong>g <strong>of</strong> <strong>the</strong> 20 th century. The build<strong>in</strong>gs designed by him <strong>in</strong> Oradea<br />
have become conspicuous through <strong>the</strong>ir conceptual purism <strong>an</strong>d accuracy <strong>of</strong><br />
<strong>the</strong> visual l<strong>an</strong>guage which place him among <strong>the</strong> best representatives <strong>of</strong> <strong>the</strong><br />
av<strong>an</strong>t-<strong>garde</strong> movement belong<strong>in</strong>g to <strong>the</strong> complex phenomenon <strong>of</strong> <strong>the</strong> 1900<br />
Art. His <strong>architect</strong>ural vision made its debut under <strong>the</strong> sign <strong>of</strong> <strong>the</strong> Hungari<strong>an</strong><br />
artistic movement called “national rom<strong>an</strong>ticism” which found its <strong>in</strong>spiration<br />
1 Ph.D. Associate Pr<strong>of</strong>essor, University <strong>of</strong> Oradea, Faculty <strong>of</strong> Architecture <strong>an</strong>d<br />
Constructions, e-mail: sim<strong>an</strong>ichita@gmail.com, Rom<strong>an</strong>ia
AN ARCHITECT OF THE EUROPEAN AVANT-GARDE IN ORADEA: MENDE<br />
VALÉR<br />
<strong>in</strong> <strong>the</strong> popular <strong>an</strong>d medieval vernacular <strong>architect</strong>ure, thus creatively turn<strong>in</strong>g<br />
<strong>the</strong> Hungari<strong>an</strong> tradition <strong>in</strong>to fruition. This vision <strong>of</strong> traditional nostalgic<br />
style, which blended elements <strong>of</strong> popular <strong>an</strong>d medieval <strong>architect</strong>ure, had <strong>the</strong><br />
Europe<strong>an</strong> movement called Arts <strong>an</strong>d Crafts as <strong>an</strong> essential reference po<strong>in</strong>t.<br />
Its ideology was centred on <strong>the</strong> Wagneri<strong>an</strong> idea <strong>of</strong> <strong>the</strong> “total work <strong>of</strong> art”, <strong>of</strong><br />
that harmonious <strong>an</strong>d noble, yet functional Gesamtkunstwerk, obta<strong>in</strong>ed after<br />
renounc<strong>in</strong>g <strong>the</strong> uncompromis<strong>in</strong>g dist<strong>in</strong>ction between major <strong>an</strong>d applied arts,<br />
between <strong>the</strong> centre <strong>an</strong>d <strong>the</strong> outskirts, between functionalism <strong>an</strong>d<br />
decorativism. In fact, one was try<strong>in</strong>g to solve <strong>the</strong> contradiction between art<br />
<strong>an</strong>d <strong>in</strong>dustry, on one h<strong>an</strong>d <strong>an</strong>d between art <strong>an</strong>d craft, on <strong>the</strong> o<strong>the</strong>r h<strong>an</strong>d. The<br />
new vision <strong>of</strong> <strong>the</strong> <strong>architect</strong>ure school <strong>in</strong> Budapest was under <strong>the</strong> sign <strong>of</strong> Arts<br />
<strong>an</strong>d Crafts movement especially due to <strong>the</strong> spiritual patronage <strong>of</strong> Lechner<br />
Ödön, who <strong>in</strong>fluenced, up to a certa<strong>in</strong> po<strong>in</strong>t, <strong>the</strong> young <strong>architect</strong> Mende<br />
Valér. This tendency towards spatial <strong>an</strong>d decorative l<strong>an</strong>guage <strong>of</strong> popular <strong>an</strong>d<br />
medieval <strong>architect</strong>ure, moulded by <strong>the</strong> “revival” ideology that marked <strong>the</strong><br />
second half <strong>of</strong> <strong>the</strong> 19th century, led shortly after to his adher<strong>in</strong>g to <strong>the</strong><br />
<strong>in</strong>novative group “Fiatalók”(“The Youth”) led by Kós Károly, <strong>an</strong> <strong>architect</strong><br />
<strong>an</strong>d m<strong>an</strong> <strong>of</strong> culture from Tr<strong>an</strong>sylv<strong>an</strong>ia. Yet his <strong>architect</strong>ural vision would<br />
fur<strong>the</strong>r ref<strong>in</strong>e through <strong>the</strong> <strong>in</strong>fluence <strong>of</strong> <strong>the</strong> Viennese av<strong>an</strong>t-<strong>garde</strong> school<br />
whose promoters were Otto Wagner, Josef H<strong>of</strong>fm<strong>an</strong>n, Joseph Maria Olbrich<br />
<strong>an</strong>d Adolf Loos. The build<strong>in</strong>gs he designed <strong>in</strong> Oradea are:<br />
• The Sav<strong>in</strong>gs B<strong>an</strong>k <strong>of</strong> Bihor County on 3 Independence Street<br />
(façade) 1909-1910,<br />
• Dr. Nemeş House, 10 Duiliu Zamfirescu Street, 1909,<br />
• Agricultural Sav<strong>in</strong>g House, 7 Iosif Vulc<strong>an</strong> Street, (Fodor Iszo<br />
House),1909-1910,<br />
• Ertler Vila, 8 Episcop Mihail Pavel Steet, 1910,<br />
• Roth Casa, 3 Vasile Alecs<strong>an</strong>dri Street, 1912.<br />
Mende Valér designed signific<strong>an</strong>t build<strong>in</strong>gs <strong>in</strong> Kecskemét, Budapest,<br />
Gyula, Petros<strong>an</strong>i, Gyöngyös <strong>an</strong>d Dorog. The build<strong>in</strong>gs designed <strong>in</strong> Oradea<br />
are <strong>in</strong> keep<strong>in</strong>g with a construction series <strong>of</strong> Europe<strong>an</strong> proportions, strongly<br />
<strong>an</strong>chored <strong>in</strong> <strong>the</strong> 1900 <strong>architect</strong>ural problems <strong>of</strong> <strong>the</strong> time. We list here <strong>the</strong>se<br />
import<strong>an</strong>t build<strong>in</strong>gs, true tops <strong>of</strong> <strong>the</strong> series <strong>of</strong> <strong>architect</strong>ure belong<strong>in</strong>g to <strong>the</strong><br />
rom<strong>an</strong>tic nationalist genre, thus quot<strong>in</strong>g Gerle J<strong>an</strong>os & comp. [1]:<br />
Kecskemét:<br />
Hajdú Vila, 10 Ir<strong>in</strong>yi Street, 1909-1910<br />
Calv<strong>in</strong> Secondary School <strong>an</strong>d Law Academy, Szabadság Square,<br />
1909-1913
JAES_1(14)_1_2011 SECTION<br />
NOVICOV R., pp.23-34 Architecture <strong>an</strong>d Urb<strong>an</strong> Pl<strong>an</strong>n<strong>in</strong>g<br />
Lu<strong>the</strong>r-udvar (Lu<strong>the</strong>r Palace – report build<strong>in</strong>g <strong>of</strong> <strong>the</strong> Reformed<br />
Church Diocese), Szabadság Square (Freedom Square), 1910-1911<br />
Budapest:<br />
Build<strong>in</strong>g, 91 Attila Street, 1912<br />
Build<strong>in</strong>g, Bodó House, Belgrad dock no. 12, 1912-1913, currently<br />
altered<br />
Gyöngyös:<br />
General b<strong>an</strong>k <strong>of</strong> Heves County, Ma<strong>in</strong> Square no. 9, 1911-1912 (a<br />
build<strong>in</strong>g altered after <strong>the</strong> fire <strong>of</strong> 1917)<br />
Gyula:<br />
Komló Hotel <strong>an</strong>d Cafe, Béke Boulevard, 1912-1913<br />
Dorog:<br />
Bath Houses for m<strong>in</strong>ers <strong>an</strong>d dwell<strong>in</strong>gs, 1914-1915, H<strong>an</strong>tken Miksa<br />
Street.<br />
Petroş<strong>an</strong>i:<br />
Workers’ Neighbourhood, 1914-1915<br />
These build<strong>in</strong>gs still exist nowadays <strong>an</strong>d <strong>the</strong>y c<strong>an</strong> create <strong>an</strong><br />
enlighten<strong>in</strong>g cultural route for <strong>the</strong> complex <strong>architect</strong>ural vision that<br />
represented <strong>the</strong> Europe<strong>an</strong> av<strong>an</strong>t-<strong>garde</strong> movement at <strong>the</strong> beg<strong>in</strong>n<strong>in</strong>g <strong>of</strong> <strong>the</strong> 20 th<br />
century. This route also <strong>in</strong>cludes <strong>the</strong> build<strong>in</strong>gs <strong>in</strong> Tr<strong>an</strong>sylv<strong>an</strong>ia <strong>an</strong>d Budapest<br />
erected by Kós Károly <strong>an</strong>d Toroczkay-Wig<strong>an</strong>d Ede, toge<strong>the</strong>r with some<br />
o<strong>the</strong>r followers <strong>of</strong> “Fiatalok”(The Youth) movement <strong>an</strong>d <strong>the</strong> artists’ colony<br />
<strong>in</strong> Gödölö, who, <strong>in</strong> <strong>the</strong>ir turns, worked <strong>in</strong> Tr<strong>an</strong>sylv<strong>an</strong>ia <strong>an</strong>d especially <strong>in</strong><br />
Târgu Mureş. By Valér Mende’s <strong>architect</strong>ure one c<strong>an</strong> underst<strong>an</strong>d better <strong>the</strong><br />
complexity <strong>of</strong> av<strong>an</strong>t-<strong>garde</strong> vision set towards <strong>the</strong> rom<strong>an</strong>tic-folk-national<br />
ch<strong>an</strong>nel as well as towards <strong>the</strong> purist-geometric, functionalist one <strong>of</strong> <strong>the</strong><br />
<strong>architect</strong>ure school <strong>in</strong> Vienne. On <strong>the</strong> Europe<strong>an</strong> map <strong>of</strong> <strong>the</strong> early twentieth<br />
century, this <strong>architect</strong>ural route draws multiple connections created between<br />
cultural centres <strong>an</strong>d suburb<strong>an</strong>, boundary areas <strong>of</strong> <strong>the</strong> Tr<strong>an</strong>sylv<strong>an</strong>i<strong>an</strong> rurality.<br />
To be more specific, it is about <strong>the</strong> vernacular <strong>architect</strong>ure, where <strong>the</strong><br />
century-old syncretism between <strong>the</strong> peas<strong>an</strong>ts’ art <strong>an</strong>d <strong>architect</strong>ure <strong>an</strong>d <strong>the</strong><br />
medieval art is still active, functional <strong>an</strong>d <strong>of</strong> a unique picturesque nature.<br />
The route projected by Valer Mende’s <strong>architect</strong>ure shows to adv<strong>an</strong>tage <strong>the</strong><br />
exemplary way <strong>in</strong> which <strong>the</strong> modern, urb<strong>an</strong> vision turned <strong>the</strong>se <strong>in</strong>fluences<br />
<strong>in</strong>to fruition by <strong>in</strong>terpretations that prove a high class <strong>of</strong> h<strong>an</strong>dl<strong>in</strong>g <strong>the</strong><br />
<strong>architect</strong>ural l<strong>an</strong>guage, more <strong>an</strong>d more <strong>in</strong>terested <strong>in</strong> <strong>the</strong> <strong>in</strong>telligent way to<br />
dwell <strong>in</strong> a space.<br />
When stylistically <strong>an</strong>alys<strong>in</strong>g <strong>the</strong> build<strong>in</strong>gs designed by Mende Valer<br />
<strong>in</strong> Oradea, we notice a uniform <strong>architect</strong>ural concept. They were erected <strong>in</strong> a<br />
short period <strong>of</strong> time, between 1909 <strong>an</strong>d 1912, dur<strong>in</strong>g which his talent
AN ARCHITECT OF THE EUROPEAN AVANT-GARDE IN ORADEA: MENDE<br />
VALÉR<br />
m<strong>an</strong>ifested itself at high levels. His brilli<strong>an</strong>t artistic career was abruptly<br />
stopped by <strong>the</strong> outbreak <strong>of</strong> <strong>the</strong> World War I when <strong>the</strong> <strong>architect</strong> was only 28<br />
years old. Four years later, after fall<strong>in</strong>g ill on <strong>the</strong> front, he would die <strong>in</strong><br />
Vienne. His grave, <strong>of</strong> <strong>the</strong> utmost simplicity, is <strong>in</strong> Kerepesi cemetery <strong>in</strong><br />
Budapest.<br />
The present study will <strong>an</strong>alyze <strong>the</strong> first <strong>an</strong>d last house designed by<br />
Mende Valer <strong>in</strong> Oradea, namely <strong>the</strong> Sav<strong>in</strong>gs B<strong>an</strong>k <strong>of</strong> Bihor County – 1909<br />
(photo 1) <strong>an</strong>d Roth House – 1912 (photo 2).<br />
Photo 1. The Sav<strong>in</strong>gs B<strong>an</strong>k <strong>of</strong> Bihor County – 1909<br />
Photo 2. Roth House, 3 Vasile Alecs<strong>an</strong>dri Street, 1912<br />
The first work <strong>of</strong> <strong>the</strong> young <strong>architect</strong> from Budapest consisted <strong>of</strong><br />
remodell<strong>in</strong>g <strong>the</strong> façade <strong>of</strong> <strong>an</strong> old build<strong>in</strong>g, a b<strong>an</strong>k, namely <strong>the</strong> Sav<strong>in</strong>gs
JAES_1(14)_1_2011 SECTION<br />
NOVICOV R., pp.23-34 Architecture <strong>an</strong>d Urb<strong>an</strong> Pl<strong>an</strong>n<strong>in</strong>g<br />
House <strong>of</strong> Bihor County located on <strong>the</strong> current 3 Independence Street. Work<br />
beg<strong>an</strong> <strong>in</strong> 1909, <strong>the</strong> year <strong>in</strong> which <strong>the</strong> 23-year-old <strong>architect</strong> who had just<br />
graduated <strong>the</strong> Polytechnic University <strong>in</strong> Budapest – Mőegyetem, (1908),<br />
opened his own <strong>architect</strong>ure <strong>of</strong>fice <strong>in</strong> <strong>the</strong> capital <strong>of</strong> Hungary. The façade<br />
design proves a surpris<strong>in</strong>gly clear <strong>an</strong>d decisive bi-dimensional vision,<br />
austere, <strong>of</strong> “curta<strong>in</strong>” type, with decorative fields under <strong>the</strong> sign <strong>of</strong> av<strong>an</strong>t<strong>garde</strong><br />
geometrism <strong>an</strong>d functionalism <strong>of</strong> <strong>the</strong> <strong>architect</strong>ure schools <strong>in</strong> Vienne<br />
<strong>an</strong>d Glasgow, but also under <strong>the</strong> sign <strong>of</strong> decorative symbolism cultivated <strong>in</strong><br />
Kós Károly’s Tr<strong>an</strong>sylv<strong>an</strong>i<strong>an</strong> circle called “Fiatalok”(The Young). Yet<br />
Mende had already experienced <strong>the</strong> visual exercise <strong>of</strong> modernity due to <strong>the</strong><br />
fact that he had won a scholarship <strong>in</strong> 1908, thus learn<strong>in</strong>g first-h<strong>an</strong>dedly<br />
about Europe<strong>an</strong> av<strong>an</strong>t-<strong>garde</strong> centres: Paris, London, Brussels, Berl<strong>in</strong>,<br />
Munchen.<br />
Gett<strong>in</strong>g back to <strong>the</strong> old build<strong>in</strong>g <strong>of</strong> <strong>the</strong> B<strong>an</strong>k <strong>of</strong> Bihor County, we<br />
mention that it preserved its mixed dwell<strong>in</strong>g programme that is b<strong>an</strong>k plus<br />
flats to rent, <strong>the</strong> <strong>architect</strong> mak<strong>in</strong>g <strong>an</strong> <strong>in</strong>tervention <strong>in</strong> <strong>the</strong> façade only.<br />
The purism <strong>of</strong> his austere vision is even better highlighted due to its<br />
vic<strong>in</strong>ity with <strong>the</strong> Black Eagle Palace, which is <strong>the</strong> work <strong>of</strong> <strong>the</strong> <strong>architect</strong>s<br />
Komor Marcell <strong>an</strong>d Jakab Dezsö. The association <strong>of</strong> <strong>the</strong> two façades<br />
expresses <strong>the</strong> major stylistic directions <strong>of</strong> <strong>the</strong> early 20 th century (photo 3).<br />
Photo 3. The association <strong>of</strong> <strong>the</strong> two façades<br />
The volumetric <strong>an</strong>d decorative concept <strong>of</strong> <strong>the</strong> palace is <strong>in</strong>debted to <strong>the</strong><br />
sumptuous direction opened by Ödön Lechner, whereas <strong>the</strong> façade <strong>of</strong> <strong>the</strong><br />
b<strong>an</strong>k <strong>in</strong>cluded <strong>in</strong> <strong>the</strong> report build<strong>in</strong>g bears Valer Mende’s bi dimensional<br />
stylistic mark which we also f<strong>in</strong>d at Komló Hotel <strong>in</strong> Gyula <strong>an</strong>d <strong>the</strong> Calv<strong>in</strong><br />
College <strong>an</strong>d Law Academy <strong>in</strong> Kecskemét: a broad flattened façade, whose
AN ARCHITECT OF THE EUROPEAN AVANT-GARDE IN ORADEA: MENDE<br />
VALÉR<br />
only spatial rhythm break is a monumental p<strong>in</strong>ion pierced by a vertical<br />
open<strong>in</strong>g that creates a simple yet sophisticated visual effect. Thus, <strong>the</strong> visual<br />
tension is not born out <strong>of</strong> <strong>the</strong> decorative rhythm or abund<strong>an</strong>ce, such as <strong>in</strong> <strong>the</strong><br />
Black Eagle Palace, but out <strong>of</strong> <strong>the</strong> tight ratio between ample areas <strong>of</strong> smooth<br />
surfaces <strong>an</strong>d abrupt compressions <strong>of</strong> <strong>the</strong> slit p<strong>in</strong>ions with graphical values.<br />
The slit p<strong>in</strong>ion is Mende Valer’s true mark. We f<strong>in</strong>d it at Ertler Villa (photo<br />
4) <strong>an</strong>d <strong>the</strong> villas <strong>in</strong> Kecskemet <strong>an</strong>d Budapest, <strong>an</strong>d also Lu<strong>the</strong>r Palace <strong>in</strong><br />
Kecskemet (a large report build<strong>in</strong>g belong<strong>in</strong>g to <strong>the</strong> Reformed Bishopric)<br />
(photo 5).<br />
Photo 4. Ertler Villa Photo 5. Lu<strong>the</strong>r Palace <strong>in</strong> Kecskemet<br />
The volumetric composition is very rigorous: perfectly symmetrically<br />
ordered, <strong>the</strong> façade displays fourteen bays, equal as a surface <strong>an</strong>d artistic<br />
expression. The only element that breaks <strong>the</strong> space is <strong>the</strong> p<strong>in</strong>ion, a sign <strong>of</strong><br />
strength, yet it also rema<strong>in</strong>s on <strong>the</strong> vertical pl<strong>an</strong> <strong>of</strong> <strong>the</strong> façade. The façade is<br />
<strong>of</strong> screen or curta<strong>in</strong> type, its simplicity <strong>an</strong>d uniformity undoubtedly<br />
represent<strong>in</strong>g a sign <strong>of</strong> modern vision that renounces <strong>the</strong> game between full<br />
<strong>an</strong>d empty spaces <strong>of</strong> volumetry <strong>in</strong> order to <strong>in</strong>sist on <strong>the</strong> basic l<strong>an</strong>guage <strong>of</strong><br />
spatiality: po<strong>in</strong>t, l<strong>in</strong>e, <strong>an</strong>d pl<strong>an</strong> (photo 6). It is not <strong>the</strong> outer limit <strong>of</strong> a liv<strong>in</strong>g<br />
space, but <strong>the</strong> <strong>in</strong>ner limit <strong>of</strong> a public place. The decoration is also designed<br />
<strong>in</strong> a two-dimensional pl<strong>an</strong>, with equal duct, which testifies <strong>the</strong> <strong>architect</strong>’s<br />
vocation as a sketcher. The decoration design is engraved <strong>in</strong> <strong>the</strong> masonry, <strong>in</strong><br />
graffiti technique, preserv<strong>in</strong>g <strong>the</strong> cobalt blue <strong>in</strong> <strong>the</strong> deep route (photo 7).
JAES_1(14)_1_2011 SECTION<br />
NOVICOV R., pp.23-34 Architecture <strong>an</strong>d Urb<strong>an</strong> Pl<strong>an</strong>n<strong>in</strong>g<br />
Photo 6. The façade design Photo 7. Graffiti technique<br />
M<strong>in</strong>imally drawn, <strong>the</strong> vegetal elements are highly stylized. They are<br />
set <strong>in</strong> stop-frames, <strong>in</strong> metopes, <strong>the</strong>y are not surprised <strong>in</strong> <strong>the</strong>ir germ<strong>in</strong>ation or<br />
efflorescence stage but <strong>in</strong> <strong>the</strong> crystallized one <strong>of</strong> <strong>the</strong> effigy or <strong>the</strong> heraldic<br />
sign. In this encrypted read<strong>in</strong>g, <strong>the</strong> stalks become vertical s<strong>in</strong>usoids, <strong>the</strong><br />
corollas become solar signs (photo 8). It is <strong>in</strong>terest<strong>in</strong>g to follow <strong>the</strong><br />
similarities mould<strong>in</strong>g on this façade, <strong>the</strong> ones on Ertler Villa (photo 9), on<br />
Nemes Villa (photo 10) <strong>an</strong>d <strong>the</strong> build<strong>in</strong>g <strong>of</strong> <strong>the</strong> Reformed College <strong>in</strong><br />
Kecskemet (photo 11).<br />
8<br />
9 10<br />
Photo 8, 9, 10. Similarities mould<strong>in</strong>g on different façade
AN ARCHITECT OF THE EUROPEAN AVANT-GARDE IN ORADEA: MENDE<br />
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Photo 11. Kecskemet Reformed College Hardware<br />
One c<strong>an</strong> notice here <strong>the</strong> dove motif whose graceful movement <strong>of</strong><br />
circular twist<strong>in</strong>g counterbal<strong>an</strong>ces <strong>the</strong> rigour <strong>of</strong> <strong>the</strong> truncated shape <strong>of</strong> <strong>the</strong><br />
hive. The hive, <strong>the</strong> symbol <strong>of</strong> b<strong>an</strong>k<strong>in</strong>g pragmatism <strong>an</strong>d efficiency, is placed<br />
on <strong>the</strong> p<strong>in</strong>ion shaft. The spirit that <strong>an</strong>imates <strong>the</strong> decorative shapes is a<br />
heraldic one, as we have already mentioned, fostered <strong>in</strong> “<strong>the</strong> Youth” circle.<br />
It is as if this decoration would ref<strong>in</strong>e <strong>the</strong> street from with<strong>in</strong>, but with <strong>the</strong><br />
utmost discretion, acknowledg<strong>in</strong>g it as a true modern show. The simplicity<br />
<strong>an</strong>d rigor <strong>of</strong> <strong>the</strong> decorative l<strong>an</strong>guage is enh<strong>an</strong>ced by <strong>the</strong> technique used, that<br />
is sgraffito, <strong>in</strong>spired from medieval art. We see <strong>the</strong> same type <strong>of</strong> decoration<br />
at Ertler Villa on 8 Episcop Mihail Pavel Street, especially <strong>in</strong> frameworks <strong>of</strong><br />
<strong>the</strong> w<strong>in</strong>dows, at Nemeş Villa <strong>an</strong>d also <strong>the</strong> build<strong>in</strong>g <strong>of</strong> Agricultural Sav<strong>in</strong>g<br />
House on 7 Iosif Vulc<strong>an</strong> Street (Fodor House).<br />
Roth House was <strong>the</strong> last build<strong>in</strong>g designed by Mende Valer <strong>in</strong> Oradea.<br />
It is extremely import<strong>an</strong>t as it marks a fundamental ch<strong>an</strong>ge <strong>in</strong> <strong>the</strong><br />
<strong>architect</strong>ural vision, by adopt<strong>in</strong>g a formal, highly purified l<strong>an</strong>guage,<br />
<strong>in</strong>spired, as he himself declared, by <strong>the</strong> vision <strong>of</strong> <strong>the</strong> av<strong>an</strong>t-<strong>garde</strong> vision. The<br />
three axis <strong>of</strong> <strong>the</strong> façade are perfectly identical <strong>an</strong>d represent a product <strong>of</strong> a<br />
spatial view, underl<strong>in</strong>ed by <strong>the</strong> composition symmetry (photo 12).<br />
Mende renounces <strong>the</strong> <strong>in</strong>fluences <strong>of</strong> <strong>the</strong> vernacular medieval <strong>an</strong>d<br />
peas<strong>an</strong>t <strong>architect</strong>ure <strong>an</strong>d heads toward modern <strong>architect</strong>ure with eleg<strong>an</strong>t<br />
shapes without <strong>an</strong>y historical <strong>an</strong>d rhetorical accents. Architecture becomes<br />
aga<strong>in</strong> <strong>the</strong> play <strong>of</strong> shapes, cleared <strong>of</strong> <strong>the</strong> elusive, rom<strong>an</strong>tically nostalgic<br />
elements. The decoration is m<strong>in</strong>imal; it ma<strong>in</strong>ly outl<strong>in</strong>es artistically its<br />
shapes, ra<strong>the</strong>r th<strong>an</strong> cover <strong>the</strong>m with adjacent symbolic me<strong>an</strong><strong>in</strong>gs. The<br />
frontispiece is <strong>the</strong> most spectacular one; <strong>the</strong> three mentioned p<strong>in</strong>ions rem<strong>in</strong>d<br />
us <strong>of</strong> <strong>the</strong> haughty dash <strong>of</strong> “The Marriage Tower” from Darmstadt, Joseph<br />
Maria Olbrich’s m<strong>an</strong>ifest work. The same as with Olbrich or Josef
JAES_1(14)_1_2011 SECTION<br />
NOVICOV R., pp.23-34 Architecture <strong>an</strong>d Urb<strong>an</strong> Pl<strong>an</strong>n<strong>in</strong>g<br />
H<strong>of</strong>fm<strong>an</strong>n (Stoclet Villa), <strong>the</strong> build<strong>in</strong>g c<strong>an</strong>opy becomes very import<strong>an</strong>t,<br />
even though it has no functional role – or precisely this is why. The<br />
tremendous rigor <strong>of</strong> this <strong>architect</strong>ure, unique <strong>in</strong> Oradea <strong>an</strong>d <strong>in</strong> Mende’s<br />
<strong>architect</strong>ure, may be related to <strong>the</strong> Art School <strong>in</strong> Glasgow, Ch. R.<br />
Mack<strong>in</strong>tosh’s work, completed <strong>in</strong> 1909.<br />
Photo 12. The three axis <strong>of</strong> The Roth House façade<br />
The three axis <strong>of</strong> <strong>the</strong> build<strong>in</strong>g, <strong>the</strong> balconies <strong>an</strong>d <strong>the</strong> three pilasters<br />
mentioned covered <strong>in</strong> brick rem<strong>in</strong>d us <strong>of</strong> <strong>the</strong> geometry <strong>an</strong>d <strong>the</strong> smoothness<br />
<strong>of</strong> <strong>the</strong> av<strong>an</strong>t-<strong>garde</strong> aes<strong>the</strong>tics, thus be<strong>in</strong>g much closer to <strong>the</strong> impersonal<br />
world <strong>of</strong> <strong>the</strong> <strong>in</strong>dustrial era th<strong>an</strong> to <strong>the</strong> nostalgic myths <strong>an</strong>d “Arts <strong>an</strong>d Craft”<br />
Movement. Mende’s modular vision was unique <strong>in</strong> Oradea dur<strong>in</strong>g that time:<br />
<strong>the</strong> build<strong>in</strong>g sp<strong>an</strong>s are emphasized series, like some clichés or matrices. The<br />
semicircular balconies seem to be swung-over from <strong>the</strong> vertical pl<strong>an</strong>,<br />
emphasiz<strong>in</strong>g <strong>the</strong> existence <strong>of</strong> <strong>the</strong> third dimension (photo 13).<br />
It was <strong>in</strong>genious <strong>of</strong> him to use <strong>the</strong> “mirror image” <strong>of</strong> <strong>the</strong> balcony floor<br />
connection with its apparent birth pl<strong>an</strong>. The decoration is m<strong>in</strong>imal, hav<strong>in</strong>g a<br />
mere discreet accent that rem<strong>in</strong>ds us <strong>of</strong> <strong>the</strong> floral motif (photo 14).
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13<br />
Photo 13, 14. The semicircular balconies <strong>of</strong> The Roth House<br />
The ironwork is simplified, <strong>the</strong> decorative motifs becom<strong>in</strong>g po<strong>in</strong>t-like<br />
<strong>an</strong>d l<strong>in</strong>ear. We c<strong>an</strong> f<strong>in</strong>d <strong>the</strong> same type <strong>of</strong> ironwork as <strong>in</strong> Roth House <strong>in</strong> <strong>the</strong><br />
works <strong>of</strong> <strong>the</strong> <strong>architect</strong>s <strong>of</strong> <strong>the</strong> Av<strong>an</strong>t-<strong>garde</strong> School <strong>in</strong> Vienne such as Adolf<br />
Loos, (i.e. Goldm<strong>an</strong>n & Salatsch shop <strong>in</strong> Vienne, 1911, where <strong>the</strong> high<br />
ground-floor hous<strong>in</strong>g <strong>the</strong> owner’s shop becomes a register that makes <strong>the</strong><br />
monumental staircase <strong>of</strong> <strong>the</strong> build<strong>in</strong>g look monumental <strong>in</strong> a highlyproportional<br />
relationship).<br />
The compositional signific<strong>an</strong>ce given by <strong>the</strong> cont<strong>in</strong>uous horizontal<br />
aspect <strong>of</strong> a shared balcony, similar to a birth pl<strong>an</strong> <strong>of</strong> <strong>the</strong> upper floors, c<strong>an</strong> be<br />
seen <strong>in</strong> Majolika House <strong>in</strong> Vienne, <strong>the</strong> work <strong>of</strong> Otto Wagner.<br />
The patio is very narrow, yet gracefully articulated such as a curved<br />
space with alveolar suggestions (photo 15). This “matric” space, def<strong>in</strong>ed by<br />
cont<strong>in</strong>uous, shared balconies, is enh<strong>an</strong>ced by a corrugated sheet decoration<br />
which festooned <strong>the</strong>m <strong>in</strong> <strong>the</strong>ir upper part (photo 16, 17).<br />
Photo 15. Roth House courtyard<br />
14
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NOVICOV R., pp.23-34 Architecture <strong>an</strong>d Urb<strong>an</strong> Pl<strong>an</strong>n<strong>in</strong>g<br />
16<br />
Photo 16, 17. Roth House galv<strong>an</strong>ized steel guardrail<br />
The extremely bal<strong>an</strong>ced game between verticals <strong>an</strong>d horizontals,<br />
between full <strong>an</strong>d empty spaces, between function <strong>an</strong>d shape, between<br />
structure <strong>an</strong>d ornament f<strong>in</strong>ds its full-fledged artistic expression. With this<br />
build<strong>in</strong>g (but also with Darvas – La Roche Villa, Moskovits House, <strong>the</strong><br />
build<strong>in</strong>g <strong>of</strong> <strong>the</strong> current University <strong>an</strong>d so on), Oradea c<strong>an</strong> be enlisted<br />
successfully among <strong>the</strong> av<strong>an</strong>t-<strong>garde</strong> Europe<strong>an</strong> <strong>architect</strong>ure.<br />
REFERENCES<br />
1. GERLE J<strong>an</strong>os, KOVACS Attila, MAKOVECZ Imre, A Századforduló Magyar<br />
Épitészete, Szépirodalmi Könyvkiadó – Bonex, Budapest, 199, pp. 145-147.<br />
2. *** Autour de l’Art Nouveau en Europe, Patrimo<strong>in</strong>e europeen et identities<br />
culturelles, ed. Arvha, Atelier 3 Chwallibog, BBM Grup, D&P Arkhitekti,<br />
Cultura 2000 project.<br />
3. BORCEA, Liviu, Memoria caselor, Ed. Vol. 1, Oradea, Ed Arca, 2003<br />
4. CHIRIAC, Aurel, (coord<strong>in</strong>ator) (2001), Oradea, Oradea, Ed. Muzeului łării<br />
Crişurilor.<br />
5. CLEGG, Elisabeth (2006), Art, design & Arhitecture <strong>in</strong> Central Europe, 1890-<br />
1920, New haven <strong>an</strong>d London, Yale University Press.<br />
6. GERLE, J<strong>an</strong>os(1987), Mende Valer, în Revista Magyar Epitomuveszet,<br />
Budapest, nr. 4/1987.<br />
7. PAŞCA, Mircea (2005), Exemple ale Arhitecturii 1900 la Oradea: Komorr<br />
Marcell, Jakab Dezso şi Mende Valer, în revista Cele Trei Crişuri, Oradea, seria<br />
III, ne. 4-7, (aprilie/iunie), p. 81-92.<br />
8. PETER I, Zolt<strong>an</strong> (2003), Trei secole de arhitectură orăde<strong>an</strong>ă, Oradea, Ed.<br />
Muzeului łării Crişurilor.<br />
9. VERGO, Peter (1993), Art <strong>in</strong> Viena, 1898-1818, London, Phaidon Press<br />
Limited.<br />
17
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10. VIGNE, Georges (1990), L’Architecture Art Nouveau (1890-1914), <strong>in</strong> L’Art de<br />
XX/eme siècle, seconde moitie, Paris, Ed. Citadelles 7Mazenod.<br />
11. *** Autour de l’Art Nouveau en Europe, Patrimo<strong>in</strong>e europeen et identites<br />
culturelles, ed. Arvha, Atelier 3 Chwallibog, BBM Grup, D&P Arkhitekti,<br />
Cultura 2000 project.