In this university project we needed to design a public building for the small, picturesque town called Nagymaros situated in the Danube bend. My choice was to replace the existing, inconvenient town hall with a new one on the same site, on the main square flanked by one storey high, old, burgess houses built in unbroken rows. Inspirated by the local traditions of building a long, perpendicular wing along the edge of the long plots, I divided my site into four stripes. This division enables to divide the functions logically and to create rich spaces within a clear geometry. One of these four stripes is taken completely by a spacious waiting hall from where all the offices have the access. The stripes are divided by patios enriching the interior spaces and bringing natural light. The stripesâ€™ independent, free formed pitched roofs articulate the volume and the patios.
The task in this university project was to design a bakery and confectionery factory in one of the inner districts of Budapest. I divided the main functions: the social block, the confectionery and the bakery into three volumes connected by glazed corridors. The volumes are arranged in an L-shape along the sides of the corner plot enclosing the courtyard for the deliveries. Dissolving the relatively big building volume results in better adaptation to the urban scale of the surrounding area. The two factory blocks covered by bricks consist of a pitched roofed factory hall flanked by the flat roofed service rooms and storages on two sides. One side of the pitched roof facing to the north is glazed in order to provide natural light for the workspace. The clean area of the factory has the main access for the employees through the changing rooms of the social block opening to the street by a glazed lobby.
The site of the horticultural centre crossed by a stream, enriched by pleasant meadows and some attractive group of trees is situated on the edge of Budapest. I placed a horticultural department store, a glasshouse and the open air areas of exposing and growing plants in one corner of this great scenery. While the character of the area remains untouched, it is treated as a landscape garden to introduce the products of the horticulture â€œin useâ€? while wondering around after leaving the car at the entrance. The new elements: lake, rock garden, cafe, tree groups, fruit garden are arranged with the consideration of the visual connections with the neighbouring chapel and the horticultural buildings. The department store and landscape design studio is a solid, geometric, white volume making use of the fruit bringing contrast to the surrounding nature. The glasshouse has a softer, more playful character.
This architectural competition for designing a new residential area in Jyv채skyl채 was done during my study year in Finland. The site is a nature reserved area situated on a lakeside with an extensive flying squirrels habitat and number of valuable trees. Our aim was to have as little impact on the area as it is possible, avoid breaking the continuity of the forest and give every flat free view of the lake. The meander of the residential buildings gently passes around the geographical contours and protected group of trees, occasionally intersected by forest belts. The northern side of the site is neighbouring to an urban area. As the density of the forest is increasing from north to south, the height of the buildings in the meander is decreasing. More forest means less housing. Narrowing and widening spatial situations bordered by the facades of buildings and by the green facades of nature ensure pleasant and impressive urban spaces.
This complex was designed to accommodate the bizarre function of the Air Guitar World Championship in Oulu, Finland plus music studios and workshops. The site was the roof of an existing, postmodern parking house. The concept and appearance of the building reflects the banal nature of the function. The functions needing closed spaces are placed in independent square volumes, fitting into the geometry and rhythm of the existing parking house. The purple polycarbonate bubble blown around them encloses the connecting spaces. The interaction of the contrary elements results in special richness. The branch of the bubble extending within the existing building until the street level includes the widening spiral staircase. This leads the visitor to the lobby, the centre of the public functions offering the best view over the city. The private functions are situated on the other end of the building with own access.
The former paper silo in Oulu designed by Alvar Aalto was to be refurbished for housing a Lutheran church and its community house. The existing buildingâ€™s imposing, freestanding, simple, reinforced concrete volume already makes it ideal for the sacred function. The original interior space is divided into one lower and one upper part by the three funnels. My aim was to preserve the upper, pitched roofed part for the church space and to place the community functions (club room, kitchen, library, office, archives, sacristy) in the lower part. My principle was to provide complete intimacy for the church space and not to destruct it with any interior staircase. Consequently, I placed a glazed, comfortable staircase meandering around the volume, offering great views and time for the spiritual preparation during the tour up to the church. The structure once housing the conveyor belt became the bell tower.
This university competition aimed the refurnishing of the small, latebaroque parish church of Telki, a town in the agglomeration of Budapest. The mostly lost, original furniture was replaced in the last decades by unworthy structures. As a result of the significantly varying number of participants in the masses, some highly flexible solution was welcomed. According to our concept each member of the community should have donated a wooden chair, and paint it white in community work making the members feel the refurbishment theirs. This pleasant contradiction between homogeneity and variety is the source of architectural values. We painted all the walls white, the only colourful elements would have been the simple shaped new altar, pulpit and the mobile kneeing stool. Latter brings some discipline in the rows of the various chairs and can be turned back into the marble floor to make more space.
The remains of this Turkish style thermal bath from the late 19th century are situated at the foot of the Buda hills, next to a highly protected thermal lake covered by water lilies. What survived from the original building is just the spectacular domed space of the hot water basin. Leaving the original function of the latter, I built the new space of cold and tepid pool behind it. As an answer to the simple, geometrical shape of the old structure I placed a rough, washed surfaced visible concrete tower on the street side. Itâ€™s smooth walled interior is furnished by the boxes of the ticket office, changing rooms, saunas, steam and private bathing cabins and massage rooms. Their homogenous exterior covers an interior lined with different materials according to the function (glass tiles, wood, coloured plaster). The spaces between and around them enriched by the view through the huge windows and the floor openings serve the relaxation.
Although, my original idea was designing a monastery, after my research into the Catholic Church I came to conclusion that in Hungary handling the more and more unsustainable parish system is a far more severe problem. Decreasing number of ageing, overburdened priests are providing church service simultaneously in app. 5 villages per capita. Consequently they are often weakened by physical and psychological diseases resulting in lower reputation. In my utopist idea the Missionary House would be a place to collect, concentrate and emit the weakening forces. According to my proposal the priests of one deanery district supposed to move together in order to form a community contra solitude, to gain strength for their every day fights. The above mentioned introverted function is completed by the hosting (social) and the emitter (cultural) function in order to become an active and integrated centre of a region.
My Missionary House is situated in Lenti, Hungary, in the centre of a deanery district. I refurbished a baroque granary, built on the remains of a medieval fortress. The whole area of the former inner castle was utilized by forming a square shaped raised plateau flanked by the existing building and new retaining walls. I divided this surface with one long, log-walled, archetypical house volume into four courtyards with different characters according to the adjacent functions. This new wing, intersected by the gateway which is the joint of the courtyards, gives space to varied functions within the simple geometry (chapel, day care centre, guest rooms). The priestâ€™s quarters are placed in the 1st storey of the old wing with access through an outer staircase to their private garden including the medieval well house. Their library is situated in the medieval polygonal tower, while the exhibition and event halls are in the vaulted ground floor of the old wing.
This project was the part of the public space rehabilitation of the Tettye district and park on the occasion of PĂŠcs being the European Cultural Capital in 2010. Although, these sunshiny southern slopes were once famous for wineries, this one is the last surviving press house. The existing building was reconstructed with some alterations, the huge, sloping plot was articulated by retaining walls and terraces made of local stone, connections to the streets and to the neighbouring park came into being. The new building is placed behind the upper retaining wall under the ground, housing a rain shelter and a public restroom. The main terrace with the old walnut tree, flanked by the angled retaining walls and the old press house, crowned by the new pergola provides not just interesting spatial situations, but offers the customers great view of the city.
The reconstruction of Ă goston square, the gate of the Tettye district including the medieval ruins of the Augustinian Orderâ€™s monastery was also the part of the PĂŠcs European Cultural Capital project. From the once extensive and important complex of the monastery only 1,52 m high rough walls have survived with hardly any architectural details. Although, with the help of the analogies and the careful investigation of the remains some structures, the layout and logic of the building could have been understood. Our aim was to reconstruct and present this information to the public and make it possible to experience the scale of the building and not just the ground plan of the ruins. The western gate as a quotation of the form of the original, the tombstones, the benches and the stairs are made of corten steel sheets, while the altars, the pavement and lettner are fine, prefabricated concrete elements.
The ruins of the renaissance summer palace of György Szathmáry, the humanist bishop of Pécs is the central element of the Tettye park in Pécs. It is situated on the top of the southern slope of the park offering great view of the city. The occasion of the reconstruction was Pécs being the European Cultural Capital in 2010. All the new elements are steel structures covered by perforated corten steel sheets. The volume of the observation deck completes the damaged geometry of the former building, the randomly placed cubic chairs on the pebbly surfaces show the former interior spaces, while the former courtyard stays grassy. These elements help to feel the original spatial situations. The open air theatre working among the ruins since couple of decades got a new corten steel stage, while the auditorium will be just a temporary structure set up in the courtyard for the summer.
The primary school of SĂĄsd, a small town in southern Hungary consists of various old buildings. This new wing was to be built as a part of the development for becoming the central primary school of the surrounding micro region. This extension includes a gym (a multifunctional hall) and itâ€™s connective functions, a school and social canteen, special classrooms and the municipal library. The relatively big volume is articulated so that it still fits to the dimensions of surrounding one-storeyed town scenery. This attempt was fulfilled by the duality of normal angled and small angled roof surfaces, which also enriches the space of the gym. The use of face-brick reflects to the local brick factory traditions, while the same coloured roofing tile and the lack of roof overhang makes the volume monolithic and despite of using traditional materials contemporary. The randomly placed square windows bring playful charm.
The functional program of the 320o Cultural Centre placed on the plot of a former bread factory from the 1950-ies reflects the high ambitions of Si贸fok, mostly known as a holiday resort at Lake Balaton. In our 3rd prize winning entry we fitted the proportions of the extension to the factory: The new volumes are mostly horizontal, spread out structures with one vertical accent, the tower of the science museum. The modern art gallery, the gastronomic and theatre/conference hall function have the access through a multifunctional atrium placed at the joint of the old and new building. As for being one of the most characteristic elements of the factory, the delivery platforms protected by canopies are continued around the new wings too in order to provide pleasant intermediate spaces. The perforated bronze sheet cladding of the extensions inspirited by local archaeological founds fits well to the old red brick fa莽ades.
Doboz (The Box) Ruin Pub is situated in the architecturally and culturally equally colourful Jewish District, making use of an entire, eclectic apartment house. Our project is the successor of Budapestâ€™s ruin pubs and it makes use of their positive characteristics: playfulness and beauty of decay. Although, our aim was to create something more sophisticated in terms of interior design. The spacious inner courtyard is articulated with a red box as a counterweight to the huge old tree. Itâ€™s leaning walls accommodate the winter dance floor and it works as the central division space, while the courtyard around the tree serves as a terrace. The concept of the box is based on creating a pleasant contrast with the classical building. The interiors of the old house are balancing between new and old: recycled antique building materials were used in a unique way accompanied by the artworks of various contemporary artists.
Artists: Gál Dávid (graphic designer), Laki Eszter (graphic designer), Szőke Gábor Miklós (sculptor), Viszlay Márk (photographer)
This downtown bar and cafe in Budapest is operating with the same name since the early â€™90-es, when it became widely popular as a casino and bar. Although, in the past two decades its â€™30-ies America interior lost its freshness and highly needed entire refurbishment. The owners decided to keep the name because of its still existing fame in the city, but their aim was to refer to it via graphics and comics. All the walls are supposed to be covered by comics printed on wallpaper. The drinks on the bar wall are placed in illuminated bubble shelves floating on a simple, black, painted surface involving the customer in the comics by reflecting their thoughts and sentences at the bar desk. The bubbles are made of bent stainless steel stripes, glazed from the back with plexi panels. Apart from the public spaces, the kitchen and the restrooms are also undergoing a severe reconstruction and a gallery extension is to be built too.