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NATIONAL SYLISTIC ASPIRATIONS
because the mode of living and the system of governance was similar; on
the other hand, Lechner argued that Austrian Art Nouveau applied Assyrian
motifs without any reference to “national or folk characteristics”.”* The fact
that Wagner was not interested in folk architecture was explained by the
lack of Austrian identity par excellence.” The diverting intentions of the two
architects could only be harmonized by Istvan Medgyaszay who finished his
studies in the master school of Otto Wagner. He was both the first to apply
ferroconcrete in Hungary as well as the one to follow the national language
of architectural design considering his research tour of Kalotaszeg with
reference to the traditional ornamentation with its symbolic architecture of
timber work.” The houses of the artist community of Goddll6 and the theatre
of Veszprém city well represent the mentioned characteristics.
Medgyaszay, Istvan: Theatre of Veszprém, 1908.
24 Akos Moravanszky: Epitészet... 1988, 144.
For German initiatives there were some signs of the impact of folk art even in Austria.
The Viennese representative of Heimatkunst (Heimat=homeland), Joseph August Lux,
emphasizing a local and regional basis against technical development and urbanization
published articles about the “open earnestness” of the cottage and its “charming coziness”,
also establishing the journal of the movement titled Hohe Warte (High-altitude Sentinel
Post).
26 Katalin Keserü: A szäzadfordulö..., 2007, 207.
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