Showing posts with label Design 1900 - 1939 (Hungary). Show all posts
Showing posts with label Design 1900 - 1939 (Hungary). Show all posts

Sunday, 12 May 2024

Behind the courtyard door - Budapest's buildings tell tales

During lockdown I remained sane by trying to learn a new language and by travelling vicariously on the internet. One of the sites I most enjoyed took me into the lobbies, courtyards and walkways of Budapest's historical buildings. It told the stories of former residents and of events that had taken place there. Budapest is a city I had visited several times before, but had never seen in this way. Last week, I spent half a day with Vincent Baumgartner, the photographer behind Buildings Tell Tales, exploring some of the buildings featured on this Facebook group.

"She is a curious person. If a courtyard door was open, she'd go in..."

When we met at 9am, Vincent had already been on the streets for a couple of hours, exploring and taking photographs. "I wake up early and go out with my camera to catch the light at its best," he said. I asked how the project had started and how he became interested in architecture. "As a child I would go out walking with my mum. She is a curious person. If a courtyard door was open, she'd go in and I would go with her. She remains curious and we still explore together now," he said, "It must have started there." Some of his earlier explorations took place in Switzerland where he was born to an Hungarian mother and a Swiss father. Despite this, from an early age he was familiar with, and took a close interest in Hungary and Hungarian culture. He explained, "We often came here during the summer, and when I was nineteen, I came to Budapest intending to stay for one year, but ended up staying for five. During that time I completed my BA and also took part in a study programme for diaspora Hungarians, learning more about our culture and history." 

He returned to Switzerland to complete his Masters Degree, and worked there for a year, before his curiosity about different countries and cultures led him to spend a year in Iran. In 2018 he returned to Budapest. "Despite being born in Switzerland, I was starting to feel homesick for Hungary, so I came back, found work and settled here," he said. He currently works in communications for an international organisation.

While walking in the city, he began noticing names and dates carved into brick walls. "My curiosity was aroused and I began photographing this historical graffiti, using old telephone directories and other documents to research the details. I discovered that many of the marks had been made by on-duty police officers in the first few decades of the twentieth century, and that others had been made by famous people," he said. One such famous person was the psychiatrist and psychoanalyst Léopold Szondi. Vincent continued, "I discovered a piece of graffiti seemingly written by him. I photographed it and sent it to the Szondi Foundation who confirmed that it was his handwriting." These findings not only led to him establishing the Instagram page Bricks of Budapest, but also to addressing a conference in Cologne.

"Almost everything I posted provoked comments and messages..."

This project sparked his interest in what might be behind those bricks and he began entering courtyards and taking pictures with his phone. Keen to share his findings with a wider audience, he launched the Buildings Tell Tales Facebook page in 2019 and soon began attracting a positive response. "The page quickly got traction and from the beginning, almost everything I posted provoked comments and messages from current or former residents, including people who had left Hungary," he said. Today the page has more than 34,000 followers, about half of them in Hungary and significant numbers in the USA, United Kingdom, Israel, France and Switzerland. "During lockdown I began to take my photography more seriously. I bought some equipment and took some classes. I wanted to better record my findings and to produce aesthetically pleasing pictures," he said. He has been so successful in this aim, that two Budapest local authorities have now granted him access to the buildings in their area of jurisdiction. 

Our walk focused on the city's seventh and eighth districts, once home to a large Jewish community. The huge external doors and sometimes austere exteriors of the apartment buildings can conceal stained glass, terrazzo surfaces, art nouveau tiles and elegant balconies or walkways. Others open to neglect, decay and empty apartments, some of them waiting for the wreckers' ball. Writers, artists, musicians, scientists, labourers and craftsmen once lived in these apartments and all must have had stories.

The level of grandeur denoted the social class of those who originally lived there, although many of the grandest are now in a poor state of repair. One apartment building is said to have housed a bordello that counted European royalty amongst its clients. Its stairwells are now dark, the decorative metalwork rusting and the plaster cladding crumbling. The same building has special historical significance as the wall of the wartime Budapest Ghetto stood in its rear courtyard. The original wall was demolished in 2006, but a portion has since been rebuilt as a monument.

A photographic studio in the attic

Other buildings are well maintained with evidence of repair work and clean courtyards free of litter. In Kiraly Utca, the inhabitants of one apartment block had undertaken historical research focusing on the story of former resident photographer Pal Kis. He worked from a converted attic room, where the ceiling and one wall were constructed entirely of glass to admit natural light. As well as running a successful business, he worked as photographer for the Opera House. During the latter part of the Second World War, Kis was one of many Jewish men taken for forced labour, but he managed to escape and return to Budapest. He was arrested again and deported on the last train to leave the city before the Russian encirclement. He died in the Buchenwald concentration camp in January 1945. While performing forced labour he maintained a secret diary, parts of which are preserved at Yad Vashem in Jerusalem. Kis' story is posted on information panels in the courtyard of his former home. 

The Kiraly Utca building's residents are clearly interested in its history, while elsewhere people greeted us and one asked for the details of the Facebook group as she wanted to know more about the project. "People are used to me now," said Vincent, "Often when they see me setting up my tripod, they will stop and talk." He has also attracted a significant amount of media attention, including from Hungarian state television, local and national newspapers  and overseas publications.

Since 2018, he has amassed a huge body of both photographic and written documentation on Budapest and I asked about future plans for sharing and developing his work. "I started a website last year and would like to further expand my project by obtaining a guide qualification so that I can lead tours of some of the buildings. I have also had a few exhibitions of my work. My next show will be in the Institute Français in September this year," he said. I asked him if he would consider producing a book, "Yes, that's possible too," he replied. 

You can follow Vincent's work on Facebook at Buildings Tell Tales  and on Instagram at Bricks of Budapest and Buildings Tell Tales

You can find the Buildings Tell Tales website here.

His next exhibition opens at Cafe Le Troquet in the Institute Français from September 7th. More details will be announced beforehand on the above links.

Photographs in this blog provided by courtesy of StudioSB

Sunday, 24 November 2013

Picture Post 21 - Hungarian art nouveau...in Venice!

Venice by Yekkes
Historical scene, Hungarian pavilion, Venice biennale
In 2010 I visited Venice to attend the Architecture Biennale. As you would expect I saw the major sites - San Marco, the Ghetto, the Rialto and many others, all of them beautiful and all known. I also managed to fall into one of the canals whilst taking a photograph. I saved the camera but ruined my favourite coat and had to walk through the streets of Venice, past the Guggenheim Collection building covered in you know what on the way back to my hotel to get washed and changed. So much for being a sophisticated traveller.

Its a good thing I saved the camera from the water as it contained my pictures of one of Venice's less well known treasures- the Hungarian pavilion from the Biennale site built in 1909. It was one of the first foreign pavilions to be built (Belgium got in first in 1907) and was designed by architect and sculptor Geza Maroti. It is instantly recognisable as a Hungarian design from the beginning of the twentieth century with its arched entry, beautiful multi-coloured ceramic tiles and art nouveau representations of historical events. Following the success of his design for the pavilion, Maroti secured a commission in 1912, to design the glass curtain and dome of the Opera House in Mexico City. Tiffany undertook the manufacture of his curtain design demonstrating the prestige of the commission and the prominence of Hungarian artists during this period. Maroti's also designed the very beautiful and recently restored Liszt Academy of Music in Budapest.

Venice by Yekkes
Homage to Balissa Balint, Hungarian pavilion, Venice biennale
Venice by Yekkes
Detail ceramic tiles, Hungarian pavilion, Venice biennale
As well as history, literature is referenced in the decorative elements of the pavilion. Poet, Balint Balassa is commemorated in one of the mosaics. Proficient in at least nine languages he was also quite prolific producing love poems, hymns, martial songs and translating works from other languages into Hungarian.

The mosaics were by none other than Miksa Roth who left an enormous legacy in stained glass in Hungary as well as further afield. Amongst other things he was responsible for the stained glass in the synagogue at Subotica, now in Serbia but formerly in Hungary, as well as the cupola in Mexico City's Opera House, working with Maroti. His Venice mosaics were based on drawings by the artist Aladar Korosfoi Kriesch. Budapest born Korosfoi-Kriesch worked in the art nouveau style and was heavily influenced by Hungarian folklore and history. A key member of an artists colony founded at Godollo in 1903, he was instrumental in reviving the art of weaving in Hungary.

The pavilion was damaged during the Second World War and remained closed until 1958 during which time it was partially reconstructed under the supervision of artist Agost Benkhard but was not fully restored until 1984. The Hungarian is perhaps the most beautiful of all the biennale's pavilions with its exquisite decorative features possibly outshining some of the contemporary items displayed inside. Also worth a look is the modernist pavilion of the former Yugoslavia, now used by Serbia and the Bauhaus influenced Israeli pavilion. 

Detail, ceramic tiles, Hungarian pavilion, Venice biennale
Venice by Yekkes
Historical figure, Hungarian pavilion, Venice biennale 
For more information on Hungarian art and architecture of this period it is still possible to pick up the beautifully illustrated A Golden Age: Art and Society in Hungary 1896-1914. There is also an excellent website called Budapest Architect which is well illustrated and offers guided architectural walks of the city.

Sunday, 4 August 2013

Picture post 20 - Budapest's art nouveau treasure

Budapest by Yekkes
Stained glass cupola

Budapest is one of  Europe's most beautiful cities. Clinging to the banks of the Danube and really two cities with different characters, Buda and Pest, it boats a magnificent built heritage with many examples of art nouveau, modernist, classicist and soviet style architecture. The Museum of Applied Arts on Ulloi Utca is just one of the city's art nouveau treasures, designed by Odon Lechner and opened by Emperor Franz Joseph on 25th October 1896.

I discovered the museum on my first visit to Budapest in 1995 and have always made a point of going there whenever I return. In 1995, Hungary was still in the early stages of transition from the old political regime and the building was somewhat dusty but packed full of treasures including unexpected works by Joseph Hoffman, Margo McDonald McIntosh, Charles Rennie McIntosh and of course the work of Hungarian ceramics genius Vilmos Zsolnay. The approach to display was somewhat serendipitous with many items on display, some labelled some not and all under the watchful eye of a group of those elderly ladies you used to find in central and eastern European museums with perfectly coiffed hair, a cardigan worn over the shoulders and a stern look. Some of these ladies still survive and I have to admit I have found some of them to be extremely helpful and friendly once the protective outer shell is broken!

Budapest by Yekkes
Main dome with distinctive green tiles

Later visits saw the Museum taking a more modern approach to exhibiting its collection with fewer items on display, more information (including in English) and interesting themed approaches being taken. I have to admit though, to a little longing for access to the range of treasure on view in 1995 - ceramics, textiles, metalworks, chairs and other furnishings. 

But what of the building? The museum was the idea of one Floris Romer who was inspired by the establishment of the major museums in London's South Kensington and by those of Vienna. Romer must have been persuasive because in 1872 the government set up a fund to acquire objects for an applied arts museum and by 1890, the Ministry of Religion and Public Education felt strongly enough to announce an architectural competition for a National Royal Museum and a School of Applied Arts. 12 sets of designs were awarded and those of Odon Lechner and Gyula Partos were awarded first prize. 

The building sparked passion both for and against it. The competition judges praised the designs for adopting an individual, free architectural concept in keeping with its intended use and for its extensive use of Hungarian majolica. However not everyone loved it and as the art nouveau style receded in the 1920's some of the interior paintings of the museum were destroyed. During the Second World War, further damage was sustained to the main entrance, main cupola and attic. Yet more damage was done during the 1956 uprising. After the war some repairs were carried out although not all were faithful to the original designs. More sensitive restoration were carried out after 1989 but the building is in need of further work and in 2012 a European Union funded competition was launched to attract proposals for restoration.

The building still has a stunning green tiled roof with gold coloured decorations, the dome of which is visible from a considerable distance, but my favourite part is the dramatic entrance lobby pictured at the bottom of this post. The highly patterned ceiling, the regal bannister and low steps draw the visitor towards the relatively small main doors which then open up into a moorish style interior. The museum is arranged over terraced floors looking down into a central indoor courtyard which is used for music and performance as well as for exhibitions. And of course, some of the most stunning views can be had by looking up at the stained glass cupola. It is not exaggeration to say that the building gives the exhibits a good run for its money, ensuring that the memory of Lechner and his colleague Partos live on.

Budapest by Yekkes
Inner courtyard and upper galleries of the museum

Lechner was born in Pest in 1845 and is acknowledged as the leading Hungarian art nouveau architect. The esteem with which he is held is demonstrated by the opinion of leading architectural historian Nikolaus Pevsner who compared Lechner to Gaudi. Other examples of his work can still be seen in Budapest including the Postal Savings Bank on Hold Utca and the tomb of the Schmidl family in the Kozma Street Cemetery. Partos, born in the same year as Lechner was also an accomplished architect. He worked with Lechner on the Town Hall at Szeged and the Kecskemet City Hall, both in Hungary.

My picture post series usually features just one photograph per post. I couldn't resist including more here. For more photographs of Budapest see here.

Budapest by Yekkes
Main entrance, restored in 2010