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The general impression of Hungarian architecture in the seventies seems rather boring. However some tendencies emerged searching for alternatives and creating a characteristic Hungarian architecture within modernism. The folk architectural tradition was only obvious authentic source of especially Hungarian architecture in the seventies both for experts and laymen. Imre Makovecz and György Csete followed this way. But their analysis of traditional forms and patterns turned into searching for general signs and symbols, authenticity of folk art was proved by its connection to the organic world, to eancestral primitiveî. National patterns became cosmic signs. Some other architects turned to foreign lands for renewing national architecture; they concentrated on England, Finland, Denmark and Japan. Following of northern romantic modernism resulted in buildings made of local materials, adjusted to local scale and landscape. The other current tendency was the architectural structuralism whose representatives were just against loosing in detailing. This design method was based on the interaction of the flexible systems and the involved random things, as a perfect solution for the Hungarian reality, with its low standard building industry and mixed elements. International methods resulted in national solutions. The two opposite movements can be explained with the different interpretation of character: whether its source is in tradition or in place.

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art, street art has gradually entered people’s field of vision. Today’s street art has included a variety of artistic expressions, for example street graffiti, folk art activities, artistic performances traveling through the city, creative

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