Budapest, Hungary
Budapest, Hungary

Time filter

Source Type

Bonta J.,Budapesti Muszaki
Epites-Epiteszettudomany | Year: 2011

In the succeeding essay Professor Emeritus János Bonta DSc (1921-) summarises at a glance his favourite materials of his lectures and research works. The theme is the European avant-garde architecture starting from the Dutch De Stijl till the soviet constructivism, similarly from the North-European architect A. Aalto, from the Bauhaus-School to the Mediterraneum, from the fascistoid modern of Italy to the individual plastic architecture of Le Corbusier. All this indicates the influence of the modern Hungarian architecture. Summarising the first decades the history of the 20th century architecture the author verifies that all this movements are on the beginning in their form very violent, but after the time progressing they are calming down and learning much from each other and they fit in into the general trends.


Pazar B.,Budapesti Muszaki
Epites-Epiteszettudomany | Year: 2011

The master builders of the Santa Maria del Fiore in Florence took an oath on the first day of the year through decades, to complete the work of their predecessor, master Arnolfo di Cambio. None of them wanted to alter it. Brunelleschi did the same. To fulfil his task, he invented new building machines, and a miraculous, detailed way of assembling the enormous dome. He didn't depict his dome in advance for show, though he could have done it, being the most outstanding master of perspective drawing. He built a real model instead, huge enough to enter it. Architecture has been born on real sites, out of real materials as a result of the labour of living human creatures, using different tools, devices machines and other inventions throughout history. Its conception cannot be separated from this complex and beautiful human procedure. Seven expressions: structure, fabric, facture, truth to the material, digital, technology, architecture. The lecture is trying to analyse the possible connotations, suggested by the relationship between the chosen expressions, from the position of the practising architect, acting somewhat from here, and beyond the actual texts. The approach implies, that only architectural practice can force us to confront texts with sensible reality, and we can ask beyond actualities, for the ultimate human motivation and devotion, manifested in this practice, only in our great cognitive tradition.


Csagoly F.,Budapesti Muszaki
Epites-Epiteszettudomany | Year: 2011

Concerning the three concepts of the conference - structure, texture, facture - it seems more relevant to stress what they have in common instead of looking for differences. I interpret this common conceptual content as a community, and mark with the expression texture, which I present from three aspects. These aspects are personal; they may or may not be connected. My approach to this theme is similar to that of Monet's to the Rouen Cathedral or to the London's Parliament - I intend to show its diversity. Comparison of texture and ornamentation is inspired by the beautiful duality of the human thought, by the harmony of sense and sensibility. Reason and emotion are equally important aspects. Architectural works have an eternal value only if the inseparably unity of these two aspects shows off. We live in a disharmonious time due to the monopoly of mind. Changes in Zeitgeist may cause changes in approach, in public opinion or in education, but not in the essential human attitude. The texture is one of the possible devices to bring up emotional contents in contemporary architecture. Skin can be interpreted also as a virtual texture. Virtual world creates its artificial surfaces away from the reality of materials. It is interesting to observe the process in which the living textures of the real world are converted into coded architectural messages. On the one hand they are the fascinating achievements of abstraction, but on the other hand they are lifeless, consequently temporary trials. Texture and time - the connection sounds poetically. As the roaring of the sea mussel, it entails the symbolism of eternal circle, the general validity of continuous metamorphosis. "Good buildings aging well" - as my master, Károly Jurcsik used to tell. Since then I realized his truth in many cases. Textures draw the face of beautiful aging.


Vukoszavlyev Z.,Budapesti Muszaki
Epites-Epiteszettudomany | Year: 2011

There are new conceptional approaches appearing at the turn of the millennium in the understanding of sacral spaces. The re-evaluation of the Church's role along the global economical and social tendencies is very topical, and it is reflected also by the new (or retrospective) space-structures. At the same time - irrespectively of religiousness - determining the individual's position within the community has become important as well. The personal interpretation of existence can be inserted to the dimensions of sacral space along these concepts - the architectural articulation is just the definition of this interpretation in 'present tense'. Architects are looking for secret - the 'represented' idea appears in the harmony of space, the surface surrounding it and the intellectual context beyond it. The change in the understanding of space comes from the direction of 'communion', it tries to reflect the spatial needs of a community - but pays attention growing by time on the role of the individual. The church is a 'public space' - it is a transition in the world created by men. It has material, its composition typifies its structure and its tangibility expresses the perceptibility of existence. Today the intimacy of the church is not expressed in easily understandable symbolic signs but in the silence of the space. In visual-aesthetic sense this leads to the clearing out of the space - in this way giving place for its saturation with spirit. These kinds of existence-reminiscences are not about the material-related purity but about the complexity of the creative process enabling the definition of silence. The critical evaluation discovers the tools of the architectural composition of sacral space with reference to concrete, realized examples. However, as a result of the structure, the texture of the material and the expression coming from the re-defined (or re-used) building logics of the material, beyond their material sameness the presented objects generate rather diverse manifestations. The secret becomes evident within its unity.


Simon M.,Budapesti Muszaki
Epites-Epiteszettudomany | Year: 2011

In the 80s a circle of architectural theorists and practicing architects, who were disappointed in the technical development intended to find an existential security, the feeling of being embedded in time in the hapticity of traditional materials. In contemporary architecture we experience the sensitive use of traditional materials together with the new experiments on shapes and surfaces based on recent technologies. The study surveys a special phenomenon of the "new materiality": it compares the use and reception of the weathering (corten) steel, invented for building industry in the 60s, as it was applied and received at the time of technical optimism and nowadays. During the 60s and 70s the main arguments for the weathering steel were practical. Although the red-brown colour of the rusty surfaces, recalling Nature was appreciated, the material was accepted only in natural environment. The rusty facade in urban fabric associated decay and erosion, unacceptable for the era, which soon expelled this material from architectural praxis. The weathering steel returned to architecture around the millennia. The study analyses this comeback based on some architecturally high quality projects. It concludes that - in addition to improving production technology - our changed relation to the past, to time and to technology are the main reasons which unfold this new acceptance of rusty steel, and which made this material more than acceptable but fashionable.


Szalai A.,Budapesti Muszaki
Epites-Epiteszettudomany | Year: 2011

The first 20th century definition of the three notions in the title of this conference - "struktúra" (structure), "textú ra" (fabric), "faktúra" (handling) - from an architectural and design point of view were given by László Moholy-Nagy. In his definition these notions are in tight relation with the material. Structure is the unchangeable conformation of each material; fabric is an organically arisen surface, epidermis of a material; while handling is the appearance of a creative process carried out on the material, which - Moholy-Nagy says - can be a result of both, natural or artificial forces. In the interpretation of Structuralism, structure is handled independent from the material, as for instance a language, space or society can have a structure. Structuralist architecture however - in its practice mostly - often uses the ideas of structure and construction as synonyms, while hardly dealing with "textúra" (fabric) and "faktúra" (handling). Neo-avant-garde painting and fibre art at the same time focused on fabric ("textúra") and handling ("faktúra"), and believed to base the renewal of expression on these notions. According to Moholy-Nagy, structure determines fabric as well as the possibilities of handling. For the esthetics of today's architectural tendencies dominated by handling this determination seems not to have a meaning anymore. Today, handling is the notion of which both fabric and texture can be originated, while the material itself only means temporary limitations in realization. In an esthetical sense it reminds on the former relation between neo-avant-garde painting and textile art. The difference is that in today's architecture, in which - just as in fine arts in general - deconstruction of universal utopias is in the agenda, plain esthetical intention is not enough; a philosophical introduction - context, branding - is also needed. The vocabulary for this is adopted from mathematical and philosophical theories of space, mostly outside of Euclidean geometry: topology, tendology, plectics, etc. The question is, if architecture can step beyond Eucledian space while realizing geometrically determined, tangible forms.


Kalmar M.,Budapesti Muszaki
Epites-Epiteszettudomany | Year: 2011

The Department for History of Architecture and of Monuments, Budapest University of Technology and Economics celebrated the 140th anniversary of teaching history of architecture in 2010. Theory and history of architecture were always closely linked. The two conferences organized by the Department this year, intended to give an overview of current opinions on architecture theory. The first conference on 12 May ran under the title Structure - Fabric - Facture and surveyed the interaction between materiality and rapidly spreading digital technology. Papers were presented by Béla Pazár, Péter Klobusovszki, András Szalai, András Ferkai, Ferenc Cságoly, Mariann Simon, Zorán Vukoszávlyev and Csaba Masznyik. The second event on 17 May was a reading session organized by the Committee on History and Theory of Architecture and on Monuments of the Hungarian Academy of Sciences. Lectures delivered by Mariann Simon and János Bonta highlighted the changes of architecture theory during the last fifty years. János Bonta who is professor emeritus at the Department celebrates his 90th birthday this year. Professor emeritus Gyula Istvánfi in his speech presented the aged professor's life, appreciated his oeuvre, and stressed his importance.

Loading Budapesti Muszaki collaborators
Loading Budapesti Muszaki collaborators