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statement

I believe in patterns. Which invisibly surround us and create a whole. I’m in search for them. A simplified logic, which could be grasped Either in sound, image, text or space. After being named, they start to live their own lives, Thus new patterns emerge.


SELECTEDWORKS ARCHITECTURE//

Villa Mathemathica - Stockhausen... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08 Footbridge - 60 x 60. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09 Story Telling Pavilion - Barbapapa... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Plecnik’s Tragedy - The Birth of Theatre Out of the GenoCode of Plecnik. . . . . . . . . . . . . . . . . . . . 1 1 ISS - Interior Design for the International Space Station. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 CentroPhery - Haikus about a Hybrid Urbanism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3 EgoTrip - Information Architecture.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4 Option Culture - Pop-Up and Fold.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 6 Art Campus AFAD - a matter of interpretation {final bachelor project}. . . . . . . . . . . . . . . . . . . . . . . 1 8

VIDEO, PHOTOGRAPHY, INSTALLATION//

Bratislava - in search of value. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 4 An Object From Dawn to Dusk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 4 Paraphrasing Mona Lisa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 5 28 - structure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 6 there’s no such thing as silence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 8 re[con]struction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 0 xenakis - lullabies, finearts and dasein. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2

OBJECTS, SKETCHES, CONCEPTS// Lamp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 6 Sanctuary of Identity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 7 T-Shirt Design for the Deaprtment of Architecture. . . . . . . . . . . . . . . . . . . 3 6 PopArt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 6

WORKSHOPS//

Urbanity - Questionnaire on Central European Heritage, Identity and Perception. . . . . . .......4 0 Do you share? Do you like? EatUp! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .......4 1 Theatre and the City - No Smoking, Please. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .......4 2 Compact City........................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .......4 3

“...who is just as confused and fascinated by labeling as the rest of us”


ANNACSÉFALVAY

about education art-academy

workshops

exhibitons, scholarships, awards

work experience language

*1988 Bratislava, Slovakia verry.berry@gmail.com +421-907-02 19 16 / +43-680-401 8291 1994-2003 Hungarian Grammarschool Dunajská, Bratislava 1998-1999 Davidson Elementary School, Tucson, Arizona, US 2003-2007 Hungarian Highschool Dunajská, Bratislava 2007-2011 Academy of Fine Arts and Design, Bratislava 2008-2009 LABARCH, prof. Imrich Vaško, akad. arch. 2009 Studio of Architecture II, Ing Arch., Akad. Arch. Benjamin Bradňansky 2010 Media Design, Moholy-Nagy University of Art and Design, Budapest 2010-2011 Studio of Architecture, Mag. arch. Peter Stec, ArtD 2011Akademie der bildenden Künste, Wien [Institut für Kunst und Architektur] 2011- Geography-Landscape-Cities, Rodney Place eatre Architecture in Central Europe [TACE] Ljubljana, SLO Urbanity_twenty years later, Centre for Central European Architecture [CCEA] Prague, CZ 2010 Do you Share? Do you like?, Kitchen Budapest [KIBU], Budapest, HU VJ course, MOME, Budapest,HU eatre and the City_contemporary urbanism and topology, TACE with Bergen Arkitekt Skole [N], Bratislava, SK 2011 Compact City, 4AM Forum for Architecture and Media, Brno, CZ 2008 Footbridge, Gallery Umelka, Bratislava 2009 Story Telling Pavilion, Gallery Medium, Bratislava Prof. Vojtech Vilhan Award in Interior design and scenography, FaSTU, Bratislava Story Telling Pavilion, Architecture Week, Gallery Manes, Prague, CZ 2010 Moholy-Nagy University, Budapest_CEEPUS scholarship 2011 Compact City, Gallery 4AM, Brno, CZ 2011 Special prize ‘Creativity, Architecture, Identity’, literature competition 2007 - 2008 Visual Merchandiser, Peek&Cloppenburg, Bratislava 2008 - 2009 Graphic Designer, Cafeteria Manna, Bratislava 2009 leader of Arts&Craft studio for children 2007 - 2011 Graphic works for different clients slovak_active english_active german_beginner

computer skills

Adobe Illustrator, InDesign, Photoshop, PremierePro, Processing 3ds max,Rrhino, AutoCad ce


“ARCHITECTURE realises the impossibility of finding its own reasons exclusively in itself” (M. Tafuri)


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villa mathemathica

STOCKHAUSEN During my first course in architecture I studied the graphic scores of Xenakis and Stockhausen, the beginnings of electronic music, as the perfect example of such exact scripts as mathemathics. The model is an attempt to transform the attributes of stockhausen’s music into the dimensions of architecture. [2008]


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footbridge

60x60

The bridge over Danube connects two parts of Bratislava, the historic centre and the pre-fabrecated suburbs. The aim is to manipulate with the people by mixing the programs provided on the two sides and set them on the bridge. However, one can cross it only by climbing through the central corridor with dimensions 60 x 60 cm. This causes “traffic jams”, thus people are compelled to take their time and use the programs provided. I worked on the project together with V. Trnovksá, L. Martinove, M. Lošonsky, O. Zachar and J. Ptačin. [2008]


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story telling pavilion

BARBAPAPA

The project was an attempt to analyse cartoon characters; their behaviour, characteristics and relationships. Barbapapa provided an interesting base. The heroes of the French cartoon are malleable and can transform generally into any form. After gaining enough information transformed into diagrams,we created a component for each character and let them interact. The process is the result. The projects consists of texts, diagrams, renderings , 3d printed model in scale 1:100 and a model fragment in 1:25. It was a group work with my fellowc colleagues, Veronika Trnovskรก and Daniela Majzlanovรก. [2009]


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together with Veronika Trnovskรก and Martin Varga

2009


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CENTROPHERY

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              

The project mainly constisted of a thorough research, about the concept of ‘periphery’ and ‘centre’, and the consecutive hybridisation of the two expressions. I decided to work mainly with verbal definitions, which lead me to ask fundamental questions, such as, what is the ‘periphery’ and ‘centre’ of architecture. Later on, I started to work with definitions by architects and by comparing and mixing them,I wrote haikus about urbanism. They served as a [not just poetic] guide for my hybrid urbanisation. [2010]

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EGOTRIP

architecture of identity - identity of architecture

in terms of identity i could call myself an outcast. simpy i find it impossible to answer the question [which i get so often] which language do i think in. i tried to analyse the fact, that re-reading my notebooks i find three different languages used, mixed and completed one by the other. thoughts, sentences,abstract ideas tied up, sometimes unfinished. a chaos. so i tried to simplify and get the essence of how [not just my] brain works. here it goes. it gets lots of random inputs,which i devided into four cathegories [space perception, images, spoken and written text]. only after all has been processed, is when we can decide how do we transform it into an output. thus, we decide, what should be the architecture of the outcoming datas. we re-think, re-organise and re-arrange, using the same material. as Deleuze said: “there is no one substance, only an always differentiating process, an origami cosmos, always foding, unfolding, refolding”. using Processing i programmed a multi-channel generator, which by clicking the mouse sends randomly to all three screens either a sound, written text or image. all these come from a specified library of sounds, texts or pictures, which alltogether create my collection of definitions for architecture. [2010, Budapest]

„...we can discover new views by generating disorder and finding out a new code to get information so that we make a new order“


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“we are all aware that most of life escapes our senses: a most powerful explanation of the various arts is that they talk of patterns which we can only recognize when they manifest themselve as rythms or shapes� (Peter Brook)


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option culture

POP-UP&FOLD


Each of us in the studio was asked to anaylise a ‘house’ for dwelling, desinged by one of the great architects. Later, we have been put into groups, where we tried to work out a common design method based on earlier analyses. It was a challening task to work with precendences such as Eisenman and Corbusier.

Our main goal was to create a dialog between architect and client by setting up a questionnaire about the ideal house, while the answers manipulated formally with a basic model. We created a book;

something between an interactive adventure book and the catalogues of houses. The result was a house on demand. However, the architectonic qualities of the project were sidetracked, so we kept on searching for solutions. After considering illustrations, groundplans and models, we

decided to put the models right into the book; which gave us only one possibilty, make POP-UPs. The next research phase was all about paper, origami and folding. We got really interested in crafting a real model with proper thickness of walls, connected by joints. The final output of the projects is the book of 164 pages, all with their own questions and pop-ups. And few of the possible results were realised into real pop-up models, with materiality and functionality considered. team members: Kristina Jurikova, Michal Hrabusicky [2010]

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art campus for the Academy of Fine Arts and Design

A MATTER OF INTERPRETATION

URBANISM IS A GAME. GAME IS A SET OF RULES. RULES CREATE ARCHITECTURE. ARCHITECTURE IS TEXT.

The aim of my bachelor project was to create a set of definitions, which later I tried to demonstrate, strengthen or question within my proposal. An important part of my research involved reading from Eisenman, Constant and Ole Bouman [who’s text I also altered, by crossing out words, and constructing my own manifesto]. I believe that architecture is like language; it uses solitare elements,which are connected by syntaxes and together they create meaning. As the program of the campus was given verbally I could state, that a function could be substituted by a word, which could be further unfolded by more words or expressions. That’s how i worked out a cloud of associations, a structure with it’s own datas and rules. To grasp this net, i decided to use the prinicple of the hyper-cube. This four dimensional space also dissolves the linearity [of reading, of the game, of percieving space] and is analgously connected to the hyper-text, thus the ability to refer outside itself and to create a web of new possibilities.


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“Form is content, content is form. It is not to be read - or rather it is not only to be read. It is to be looked at and listened to� (S.Beckett)


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I proposed an utopian mega-structure as urbanism, enclosing the existing building of the school on Drotarska street. Formally, it refers to the hypercube, which contains 16 points, 24 squares and 8 cubes. In this case, points represent words [which are connected by associations] and create solids that define functions [studios, library, gallery, auditorium, dormitory, sport/park, restaurant, creative incubator]. Each function has it’s own type of construction, or system of occupation of the availible space. With the help of this geometry unexpected intersections emerge. This urbanism should potentiate new visual interpretations of spaces and functions based on the logic of reversible images, also re-define sensual architectonic experience and use of spaces provided. The final presentation was a collage of sketches, paintings, texts, diagrams, cross sections and models. [2011]


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VIDEO, PHOTOGRAPHY, INSTALLATION

“all reflecting a need for authorisation, for centeredness and a clarity of order, for control” (J.Bloomer)


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in search of value

AN OBJECT

from dawn to dusk

BRATISLAVA [2008]


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paraphrasing

MONA LISA

dealing with myths such as Leonardos homosexuality and his hidden identity in women portraits by painting them masculine hands


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28 structure

it’s a lyrical story about fragility and conciliation. crossfade photos of the structure of my bed sheet, every morning for twenty-eight days. video 4’42’’ [2009]


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re[con]struction

‘que se la llevaron’ goya

Reconstructing a scene of violence with bed blankets. After turning off the projection all there’s left is a messy bed. video 2’ 09’’ [2010]


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there’s no such thing as silence an interactive installation, where the movement of the letters correspond with the noise of the enviroment. Thus, the definition of art is only readable in perfect silence. programmed in Processing [2010]


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“we recorded some songs with my brother, as a transformation of us into musicians�

download at: http://www.andrascsefalvay.com/xenakis.html purchase: SODA gallery, Bratislava, Slovakia


OBJECTS, SKETCHES, CONCEPTS

“the ‘trickiness’ of weaving; its uncanny ability to make meaning out of inarticulate matter, to make silent material speak” (A. Bergren)


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pure concept

LAMP A lamp which is based on the excellence of our anathomy. Problem: when you wake up at night to go to the toilet your eyes are used to the dark, but you need light. You hardly get used to it, you turn it off and see nothing again. Solution: is to close one of your eyes before you turn the light on and keep it closed untill the light is off. back in the dark you switch eyes, thus open the one which is still used to the dark, so to find your way back to the bed easily. Warning: it is not recommended to open both eyes on the way back, its kind of schyzofrenic! [2008]

what is a

T-SHIRT?

The task was to design a T-shirt for our department. My gesture is an ironic reaction to our ambition of giving deeper meaning to things, as if we were afraid of appreciating the beauty of simplicity. I sewed in a classic t-shirt, so it lost it’s function, saying everything is questionable. [2009]

POPART photo documentation of an action. The pictures speak for themselves.

[2010]


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sanctuary I raised myself an altar. Dealing with identity questions as i live in the eternal stimulus of the contradictions in me. such as: slovak-hungarian, soul-body, artist-architect, man-woman, bohemian-intellectual [2009]

OFIDENTITY


WORKSHOPS

“Try to listen to me. Repeat after me...nothing. Nothing. No, nothing. Nothing. There. That’s right. That’s how it should be.” (I. Bergman)


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team work with architecture students from Hungary, Germany, Slovenia, Czech repubic, Slovakia,Poland and Austria [2009, Prague]


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The aim of the project is to develop a network for people who are ready to share their meals. The project will be supported by a website eatup.com. Which helps users to search for ‘eatup’ meetings by area, number of participants or dishes served; put online their own events or find people with common tastes. collabortaion with fellow erasmus students [2010, Budapest] http://kitchenbudapest.hu/en/eatup


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NOSMOKINGPLEASE The aim of the workshop was to create actions that become invitation for people to do new actions. After a short research about existing backgrounds, “stages” for different activities in the city, we decided to transform a common smoking corner to a pubic non-smoking living room. “If smoking is an activity, non smoking is a passivity”. We wanted to change this and provide a stage for non-smoker, so it becomes the activity. [2010, Bratislava]


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COMPACTCITY

“In the current European context, there is very little ambition to establish new cities. Due to all kinds of regulations, existing cities are undergoing major changes in their peripheral parts. Instead of intensively using what has already been built, cities extensively expand, drifting out everything they cannot absorb. However, inner cities do not represent finished, definite structures: they rather constitute ever-changing organisms which need new impulses from the inside. Compact city does not mean creating new boundaries, but opening up new opportunities in already constructed space.� walkthroug- http://www.vimeo.com/21860616 team work led by Peter Stec,SK [2011, Brno]


design by anna photos by Justyna Brzakalik and anna Bratislava 2011 Š

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