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3THE ROUTEhas become a true emblem of 1900s architecture, and is
the most illustrative of the Secession style not just in Oradea,
but also throughout the region. It was commissioned by two Jewish
lawyers, industrialists and bankers who, seduced by the beauty of
the Galleria Vittorio Emanuele II in Milan, wanted Oradea also to
have architectural splendour of this sort, of a complex
functionality. The resplendent, Y-shaped, stained-glass gallery,
presided over by two monumental glass works that depict an eagle in
flight, formed the axis of a shopping centre that included two
cinemas the larger hall also doubled as a theatre as well as a
hotel, a restaurant, a cabaret, the Bonbonnire patisserie and a
spacious cafeteria. All of these venues were stimulated by the
custom from shops, a bank and apartments. At night, the building
was livened by
urban entertainment, with live jazz rhythms infusing the
atmosphere. From a stylistic viewpoint, the architects chose to
utilise a Secessionist language of curved lines yet included rustic
touches that were
inspired by Lechners work. On the faades, these ornaments took
the form of stylised motifs taken from popular Magyar embroidery or
carved woodwork. Inside, the elegance and luxury were astounding.
Most of the stucco, boasting zoomorphic or decorative motifs, was
leafed in gold. All of this decorative luxury
Dr Ramona NovicovArt critic, University of
[email protected]
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Faade of the Vulturul Negru Palace, by Marcell Komor and Desz
Jakab (19071908)
Faana del Palau Vulturul Negru, de Marcell Komor i Desz Jakab
(1907-1908)
Connecting Within EuropeArt Nouveau in Oradea
The artistic value and stylistic variety of the buildings
erected around 1900 make Oradea an attractive destination for
enthusiasts and followers of the Art Nouveau European Route. Theyll
discover architectural jewels with a culturally cosmopolitan
atmosphere, only natural in a city that formed part of the
Austro-Hungarian Empire up until 1918.
At the dawn of the twentieth century, Oradea was a city that had
already achieved its yearning for an urban milieu thanks to its
petite bourgeois burghers of predominantly Jewish origins, but who
also came from the foremost intellectual circles. From the
perspective of its thousand-year-old history and modern cultural
and commercial interactions, Oradeas architecture, created in the
early twentieth century, was highly receptive to new European
trends. In terms of architecture, Oradea offers excellent examples
of the movements that changed the face of European cities, leaving
the imprint of a new physiognomy of modernity. Oradea also
constitutes fertile ground because it displays both main
architectural streams, complementary in their essence: the national
style and the international style, with its more rousing and
opening effect that is, the avant-garde.
The national Magyar style is displayed phenomenally by two of dn
Lechners disciples, renowned Budapest architects, Marcell Komor and
Dezs Jakab. The most characteristic building they created, and the
most spectacular in the entire city, is the Vulturul Negru (Black
Eagle) Palace. The palace, erected in 19071908,
The strangely shaped arcade of the Vulturul Negru Palace, by
Marcell Komor and Desz Jakab (19071908)
Galeria interior del Palau Vulturul Negru, per Marcell Komor i
Desz Jakab (19071908)
Oradeas architecture, created in the early twentieth century,
was highly receptive to new European trends
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4 The routeLa rutade les ciutats europees i els van deixar
lempremta de la nova fisonomia de la modernitat. Tamb Oradea oferia
un terreny frtil perqu es manifestessin les dues grans orientacions
arquitectniques, complementries en la seva essncia: lestil nacional
versus lestil internacional, amb la seva obertura ms incitant, s a
dir, lavantguarda.
Lestil nacional magiar s representat amb espectacularitat a
travs de la creaci de dos deixebles del reputat arquitecte dn
Lechner (vegeu cDf nm. 23), Marcell Komor i Dezs Jakab. Ledifici ms
representatiu de la seva creaci, i el ms espectacular de tota la
ciutat, s el Palau Vulturul Negru (guila Negra). El palau, construt
els anys 1907-1908, ha esdevingut un veritable emblema de
larquitectura del 1900, i s el conjunt ms representatiu de lestil
Secession no noms dOradea, sin tamb de tota la regi. El van
encarregar dos advocats, industrials i banquers jueus
que, seduts per la bellesa de les galeries Vittorio Emanuele II
de Mil, van voler que Oradea tamb compts amb una esplendor
arquitectnica daquesta mena i duna funcionalitat complexa. La
resplendent galeria vidriada en forma dY, vigilada per dos vitralls
monumentals que representen una guila volant, era leix dun centre
comercial que contenia dues sales de cinema la ms gran de les quals
s'usava tamb com a teatre, a ms dun hotel, un restaurant, un
cabaret, la pastisseria Bonbonnire i una
cafeteria ben espaiosa. Tot plegat, animat per botigues, un banc
i apartaments. Durant la nit, ledifici esdevenia lescenari de
distraccions urbanes, sovint infoses pels ritmes de la msica
de jazz. Des dun punt de vista estilstic, els arquitectes van
optar per un llenguatge Secession de lnies corbes per amb matisos
rstics, inspirats en lobra de Lechner. A les faanes, aquests
ornaments estilitzaven motius presos del brodat popular magiar o de
lart de la fusta. A linterior, lelegncia i el luxe eren
aclaparadors, i la majoria dels estucats amb motius zoomorfes o
decoratius estaven recoberts amb pa dor. Tot aquest luxe decoratiu
sintensificava amb miralls que cobrien les parets. Actualment, les
sales despectacle i el cinema estan en procs de restauraci.
Per abans de projectar aquesta gran obra mestra de
larquitectura, els dos arquitectes ja havien deixat lempremta del
seu geni creador en altres edificis, decorats en lesperit fidel de
lestil del seu mestre. Aix, de 1902 a 1905 van aixecar dos edificis
anomenats Adorjn I i Adorjn II, dos blocs de pisos amb espais
comercials a la planta baixa. Aquests edificis no tan sols sn
espectaculars grcies a la decoraci elegant i subtil inspirada en el
brodat tradicional magiar, sin tamb perqu tracten la faana com si
fos una cortina uniforme estesa per un ampli acroteri curvilini,
semblant a les frmules estilstiques emprades per dn Lechner.
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Dr Ramona NovicovCrtica dart, Universitat
[email protected]
Connectant dins dEuropa Modernisme a Oradea
El valor artstic i la varietat estilstica dels edificis
construts al voltant de lany 1900 fan dOradea una destinaci
atractiva per als amants i coneixedors de la Ruta Europea del
Modernisme. La ciutat els descobreix joies arquitectniques amb una
presncia cultural cosmopolita, prpia duna ciutat que fins a lany
1918 va formar part de lImperi austrohongars.
Al comenament del segle XX, Oradea era una ciutat amb els anhels
dun medi urb ja consolidat grcies als petits emprenedors prspers,
majoritriament jueus, per tamb a un cercle dintellectuals de
primera lnia. Vista des de la perspectiva de la seva histria
millenria i dels intercanvis comercials i culturals moderns,
larquitectura dOradea creada al comenament del segle XX va ser molt
receptiva als nous moviments europeus. Hi trobem ben representats
els corrents que van canviar el rostre
Larquitectura dOradea creada al comenament del segle XX va ser
molt receptiva als nous moviments europeus
The faades of Andorjn I and Andorjn II have a Lechnerian air
about them
Les faanes de Andorjn I i Andorjn II tenen un aire lechneri
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was intensified with mirrors which hung from the walls. The
performance halls and cinema are currently being restored.
Yet prior to planning this great architectural masterpiece, the
two architects had left the mark of their creative genius on other
buildings, decorated in the faithful spirit of their masters style.
For example, in 19021905 they were responsible for two buildings
known as Adorjn I and Adorjn II, apartment blocks with commercial
premises on the ground floor. These buildings were not merely
astonishing for their elegant yet subtle decoration inspired by
traditional Magyar embroidery, but also because they treated the
faade as if it were a uniform curtain drawn across a wide
curvilinear acroterion, similar to the stylistic formulas which dn
Lechner employed.
Another typical building created by the architectural office of
Komor and Jakab is Stern Palace, built between 1904 and 1905. It
was conceived as a large rental apartment building, with an
extensive interior courtyard crowned with vegetation and bathed in
natural light. Its decoration is soberer yet as sophisticated as
that of the Adorjn buildings. One can clearly perceive here the
influence of the national Magyar style, especially in the rustic
treatment of the cornice, adorned in floral motifs based on popular
embroidery. The ornamentations of the stucco are captivating,
depicting sunflowers, pomegranates, hearts, plants growing in pots,
tulips, leaves, peacock tails, as well as curvilinear decorative
motifs that embellish the ornamental jambs and vestibules of both
monumental entrances with garlands.
Tower-like corner of the Stern Palace, by Komor and Jakab
(19041905)
Torre a la cantonada del Palau Stern, per Komor i Jakab
(19041905)
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Window and balcony of the building known as Andorjn I, by Komor
and Jakab (19021905)
Finestra i balc de ledifici conegut com Andorjn I, de Komor i
Jakab (1902-1905)
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La ruta The routeAnother building in Secession style is Poynar
House, built in
1907. This is a monumental building, commissioned by Aromanians,
which gives this building, sited in one of the citys most important
squares, a powerful profile. Its architect is Ferenc Sztrill. As
occurs with Stern Palace, two identical faades flank a strong
vertical axis, crowned with a richly decorated metal dome.
Likewise, Poynar House has a remarkable air to it, thanks to its
sculptural and architectural volumes. The solid profiled arches of
the corbel convey the curious notion of a sailing ship in delicate
Regele Ferdinand Square.
Not far away, in another area of the city, we find two
impressive buildings in the Art Nouveau style flanking a park. One
is Fchsl Palace, the first extraordinary building in the city a
true product of the spirit of the new century. It was built in the
interval 19021903 by Budapest architects, Blint Zoltn and Jmbor
Lajos, on a commission from two wealthy wine merchants, the Fschsl
brothers. The building is a large property prodigiously decorated
with ornamentations of vines and grape clusters. The wavy forms of
the vines are repeated in the syncopated cornice line, with
surprising shapes reminiscent of oriental repertory.
On the southern side of the park is another imposing building in
the Secession style, built in 19121913 by the architect Franz Lbl:
the Ullmann Palace. It was commissioned by one of Oradeas
wealthiest Jewish businessmen. The building has an interior
courtyard with an unusual atmosphere. The gallery on the upper
floor is especially picturesque due to its spatial layout. The
building is unique thanks to the elegant curves of its bay windows
decorated in stained glass and bas relief.
This is another contrasting aesthetic trend, this time belonging
to the Art Nouveau international style with curvilinear coup de
fouet shapes. The building that most epitomises this style is the
Miksa Moskovits Palace, built in 19041905 by Rimanczy Klmn the son,
one of Oradeas recognised architects. Its volumes offer a powerful
expression of plasticity while the decoration is rich, excelling in
striking depictions of fields of flowers, female faces, swans and
cygnets, and growing shoots. Its most exemplary feature is the main
balcony, sumptuously decorated with a female face framed by the
rich greenery of two trees and masonic symbols.
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Detail of the bow windows of Ulmann Palace
Detall duna tribuna del Palau Ulmann
The Poynar House by Ferenc Sztrill, built in 1907, has a
powerful presence in Regele Ferdinand Square with its sculptural
volumes and strong vertical axis on the corner
La Casa Poynar, obra de Ferenc Sztrill de 1907, t un fort
protagonisme a la plaa Regele Ferdinand grcies als seus volums
esculturals i la potncia del seu exi central en cantonada
The Fchsl Palace was the first large building in Art Nouveau
style in Oradea, by architects Zoltn and Lajos (19021903)
El Palau Fchsl va ser el primer edifici gran en estil modernista
dOradea, obra dels arquitectes Zoltn i Lajos (1902-1903)
Un altre edifici en estil Secession s la Casa Poynar, construda
lany 1907. Es tracta dun edifici monumental, encarregat per
aromanesos, que confereix un perfil potent a una plaa important de
la ciutat. s obra de l'arquitecte Ferenc Sztrill. Com passa en el
Palau Stern, dues faanes idntiques flanquegen un eix vertical
robust, coronat per un casc metllic ricament decorat. Tanmateix, la
Casa Poynar t una personalitat singular grcies als volums
escultrics i arquitectnics. Les arcades massisses perfilades en la
mnsula li donen laire estrany dun veler en la delicada plaa de
Regele Ferdinand.
No gaire lluny, en una altra zona de la ciutat, trobem dos
edificis impressionants destil Art Nouveau flanquejant un parc. Un
s el Palau Fchsl, el primer edifici estrambtic de la ciutat, fruit
de lesperit del nou segle. Va ser aixecat en linterval 1902-1903
pels arquitectes de Budapest Zoltn Blint i Lajos Jmbor per encrrec
dels germans Fschsl, rics comerciants de vi. Ledifici s un gran
immoble de renda decorat prdigament amb el motiu de la vinya i
gotims de ram. Les formes ondulants dels ceps es retroben en la
lnia sincopada de la cornisa, amb formes sorprenents que remeten al
repertori oriental.
Al cant sud del parc saixeca imponent un altre edifici d'estil
Secession construt els anys 1912-1913 per larquitecte Franz Lbl: el
Palau Ullmann, encarregat per un dels comerciants jueus ms rics
dOradea. Ledifici t un pati interior amb una atmosfera inusual i s
especialment pintoresca la passarella del darrer pis per la seva
disposici espacial. Ledifici s nic grcies als arcs elegants de les
tribunes decorades amb vitralls i baixos relleus.
Una altra tendncia esttica, que pertany en aquest cas a
lestil
Un altre edifici representatiu de les creacions del despatx
darquitectura de Komor i Jakab s el Palau Stern, construt entre
1904 i 1905. Va ser concebut com un gran immoble de pisos de
lloguer, amb un extens pati interior curull de vegetaci i banyat
per la llum natural. La seva decoraci s ms sbria per igual delegant
que la de les cases Adorjn. Aqu es pot percebre ms clarament la
influncia de lestil nacional magiar, especialment en el tractament
rstic de la cornisa, decorada amb motius florals inspirats en el
brodat popular. Sn captivadors els motius decoratius dels estucats
que representen gira-sols, magranes, cors, testos amb plantes,
tulipes, fulles, cues de pa, aix com tamb els motius decoratius
curvilinis que adornen amb fistons els marcs ornamentals o els
vestbuls de les dues entrades monumentals.
The simple yet elegant faade of the Ulmann Palace, built by
Franz Lobl in 19021903
La faana, simple per elegant, del Palau Ulmann, construt per
Franz Lobl el 1902-1903
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La ruta The route
Brothers Lszl and Jszef Vg created a building in 19091912 that
stands out as unique in the Oradea urban landscape: the Darvas-La
Roche villa. Left, a part of its complex faade; right, hall of its
surprising interior
Els germans Lszl i Jszef Vg van crear al 1909-1912 un edifici
que destaca com a nic en el paisatge urb dOradea: la Villa
Darvas-La Roche. A lesquerra, una part de la seva complexa faana; a
la dreta, sala del seu sorprenent interior
Detail of the faade of the Moskovits Palace, by Rimanoczy Klmn
jr., 19041905
Detall de la faana del Palau Moskovits, de Rimanoczy Klmn jr.,
1904-1905
The faade of the Moskovits Palace, by Rimanoczy Klmn jr.,
(19041905), displays a rich decorative programme with the typical
Art Nouveau floral, animal and female motifs
La faana del Palau Moskovits, de Rimanoczy Klmn jr.,
(1904-1905), mostra un ric programa decoratiu amb els motius tpics
del Modernisme : florals, animals i femenins
Interior of the Darvas-La Roche villa by the Vg brothers. This
building is to be rehabilitated to become a museum of international
Art Nouveau
Interior de la villa Darvas-La Roche dels germans Vg. Aquest
edifici ser rehabilitat per convertir-se en un museu del Modernisme
internacional
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A more avant-garde, formal volumetric solution in this period
can be found in the Darvas-La Roche villa, a 19091912 creation of
the brothers Lszl and Jszef Vg. It is a unique building in Oradeas
architectural landscape, comparable to the sumptuous Schiffer villa
in Budapest, also created by the Vg brothers. Its exterior is
surprising in the symmetry of its faade pure visual spectacle. The
parabolic arch of the entrance is crowned by a balcony adorned with
a melancholic atlantid a
internacional, s la de lArt Nouveau amb traat curvilini coup de
fouet. Ledifici ms representatiu s el Palau Miksa Moskovits,
construt els anys 1904-1905 per Klmn Rimanczy fill, un reconegut
arquitecte dOradea. La volumetria s duna potent expressi plstica
mentre que la decoraci s rica i excelleix en representacions
singulars: camps de flors, rostres femenins, cignes amb cries,
tiges vegetals. El ms representatiu s el balc principal, decorat
sumptuosament amb un rostre femen emmarcat pel fullam ric de dos
arbres i per smbols maons.
La soluci volumtrica i formal ms avantguardista daquesta poca la
trobem a la Villa Darvas-La Roche, una creaci de 1909-1912 dels
germans Lszl i Jszef Vg. s un edifici nic en el paisatge
arquitectnic dOradea, i sel pot comparar amb la sumptuosa Villa
Schiffer de Budapest, tamb creaci daquests germans arquitectes.
Lexterior sorprn per lasimetria de la faana, que s tot un
espectacle visual. Larc parablic de lentrada est coronat per un
balc decorat amb un atlant melangis aparici singular en la plstica
arquitectnica europea. Les parets tenen grans vidrieres, mentre que
les zones opaques van cobertes amb plaques de ciment polit
decorades amb botons de cermica Zsolnay. Linterior conserva
elements decoratius originals excepcionals pel seu valor plstic:
els vitralls, una font interior, mobles per amagar els radiadors,
cermica, mobiliari. Aquesta villa ser restaurada en un futur proper
per albergar un museu dArt Nouveau de talla europea.
curious apparition in European architectural plasticity. The
walls boast large windows while the opaque areas are covered with
panels of polished cement decorated with ceramic pieces from the
Zsolnay factory. The interior preserves original decorative
elements, which are exceptional for their plastic value: the
windows, an indoor fountain, cabinets to hide the radiators,
ceramics and other furniture. This villa will be restored in the
near future to become a European Art Nouveau museum.
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