The beginning of the 1970s was a period of rediscovery of folk art. In addition to the resounding success of the dance halls, the activities of a group of negotiating folk artists, the Nomád generation, received less attention. The cultural policy of Aceh could not deal with “nomads” who instinctively felt the responsibility of being an intellectual, and constantly looked for a way to make them impossible. Through the agent’s reports or the architectural debate unfolding in the columns of Élét és Irodalom, we get to know the architecture of the Steel Age with astonishing authenticity. The so far untold story of the nomads is also the story of a house: the chronicle of its birth and destruction is symbolic…