Our proposal aims to both seemingly integrate and drastically distinguish itself within this context. Much like a medieval castle in the park, the New House of Hungarian Music [HHMUS] is conceived as a cultural fortress: a single monolithic and autonomous object; a dark shaded crystalline mass conspicuously rising over the park.
The shape of the building is both autonomous and contextual at the same time. Treated conceptually as a solid, the HHMUS building has been carved out by projected lines and planes stemming from the surrounding ronda. However, the HHMUS main entry faces the main promenade along the axis connecting the Av Varosligeti Fasor with Architecture and Photo Museum on Dozsa Gyorgy blvd. and the New National Gallery and Ludwig Museum on the other side of the City Park. As a result, the building’s posture appears both seemingly compliant to the presence of the Varosliget circle, while relatively indifferent to it as well.
The building mass claims certain autonomy from both ground and context. The building shape is almost independent from the ground. In order to exacerbate its autonomous nature, the building’s ground has been intentionally depressed around it. This allows the volume to literally penetrate the ground. The building surfaces are articulated with an abstract dazzle pattern. The pixelated gradient nature of the building texture makes its presence both graphically pleasing and tectonically mute at the same time. As a result, the building appears iconic and mute at the same time: a silent idiosyncratic object in the park. The public approaches the building from the main promenade along the axis. Much like a medieval castle [cultural fortress], visitors enter the HHMUS through a short bridge across a recessed outdoor terrace a level below. The museum café is located directly underneath this bridge and is also accessible from the street level receiving natural light and air.
The shape of the building is both autonomous and contextual at the same time. Treated conceptually as a solid, the HHMUS building has been carved out by projected lines and planes stemming from the surrounding ronda. However, the HHMUS main entry faces the main promenade along the axis connecting the Av Varosligeti Fasor with Architecture and Photo Museum on Dozsa Gyorgy blvd. and the New National Gallery and Ludwig Museum on the other side of the City Park. As a result, the building’s posture appears both seemingly compliant to the presence of the Varosliget circle, while relatively indifferent to it as well.
The building mass claims certain autonomy from both ground and context. The building shape is almost independent from the ground. In order to exacerbate its autonomous nature, the building’s ground has been intentionally depressed around it. This allows the volume to literally penetrate the ground. The building surfaces are articulated with an abstract dazzle pattern. The pixelated gradient nature of the building texture makes its presence both graphically pleasing and tectonically mute at the same time. As a result, the building appears iconic and mute at the same time: a silent idiosyncratic object in the park. The public approaches the building from the main promenade along the axis. Much like a medieval castle [cultural fortress], visitors enter the HHMUS through a short bridge across a recessed outdoor terrace a level below. The museum café is located directly underneath this bridge and is also accessible from the street level receiving natural light and air.
Team:
Marcelo Spina
Georgina Huljich
Sophie Lauriault
Garet Ammerman
Alex Blugerman
Marcelo Spina
Georgina Huljich
Sophie Lauriault
Garet Ammerman
Alex Blugerman
Consultants;
Greg Otto (Walter P. Moore)
Transsolar
Greg Otto (Walter P. Moore)
Transsolar
