KÁROLY KÓS ARCHITECTURAL DRAWINGS

The wooden church at Türe (Tiurea).
I wrote about Károly Kós’s buildings in the Budapest Zoo, and earlier about his work on the Wekerle housing estate on the outskirts of the city, mentioning his use of Transylvanian vernacular styles. Like his contemporary Bartók, Kós made studies of the folk art of the region in the early 20th century and several of his illustrations were re-published with a text by András Székely (Kós Károly, Corvina, Budapest, 1979).
Illustration from The Song of King Attila (Atila kiráról szóló ének), 1923

Belfry and entrance to the churchyard at Mezőcsávás (Cenanasul-de-Campie)
The drawings show how closely he based the zoo buildings on folk styles, but they are more than a record of folk architecture and they are beautiful in their own right, ink drawings and linocuts, characteristic of the the period and reminiscent of the graphic art of The Beggarstaffs
Typical Hungarian house at Torockó (Rimetea).

KÁROLY KÓS BUILDINGS IN BUDAPEST ZOO

It may be perverse to go to a zoo to look at the buildings, but that’s what we did on a recent trip to Budapest, because the popular zoo is one of the architectural highlights of the city. It’s one of the oldest zoos in the world. It made a loss in its first incarnation and at the end of the 19th century it was taken over by the city council, who had it completely rebuilt.

The exotic Art Nouveau entrance and the Elephant House were designed by Kornél Neuschloss; they’re great fun and they make bold statements, but we went to see the buildings by his young students Károly Kós and Dezső Zrumeczky.

Kós (1883-1977) was born in Transylvania and was passionately interested in its Hungarian culture. His zoo buildings are based firmly on Transylvanian folk models. He was an admirer of John Ruskin and William Morris and insisted on this vernacular style in his Budapest buildings against the prevailing Art Nouveau and the overblown Eclectic style. Although he was offered the post of professor at the College for Applied Arts in Budapest, he preferred to return to Transylvania. After Trianon, he campaigned for the rights of Hungarians in Romania but did not advocate reunion with Hungary. He was a senator in the Romanian parliament for the Hungarian People’s Union from 1946-48.

Bird House

Kós’s drawing for the Bird House