Department of Urban Planning and Design

Global trends in the revaluation of wine culture and the importance of viticultural landscapes have led to a new era of wine architecture which celebrates its relationship with the landscape; a new era where the philosophy of considerateness and 'fit into the character of the landscape' or "adaptation to the existing landscape" has top priority. The main focus of our research is to analyse if this new trend-"the quest for integration of architecture into the landscape"-is valid in each case. To perform this study, three recently built examples of remarkable wine architecture were selected; these are owned by prominent entrepreneurs and designed by three world-famous designers and located in the same, valuable and protected viticultural landscape. The research goal is to discover how the professional, highly commended architects faced this challenge. Did they intend to subordinate the wineries within the landscape or did they intend to make a contrast and mark the territory in order to represent their personal artistic style as a brand? Did they treat the surrounding viticultural landscape as inspiration for their architectural concepts or as a background? Are these new wineries a part of the surrounding landscape or are these distinct and separate objects from it?

The follmving work aims to examine the years }vhen Hungmian arclzitecture after the short but impressive period of socal/ed social-realism retumed to modemism. The point in time is the tum of the fifties and sixties. This was the vel}' period when in tize history of Westem architecture the first criticism of functionalist doctrine appeared. Tize 1ntemational Style was questioned by a regional approaclz, and in 1956 tize regular The architectural competition for the restoration and extension of the former Pest Vigadó building was announced in August 1956. At that time it was already clear for aH the Hungarian architects, that the new part of the building could be designed only in modern style. If somebody hesitated, he recieved unambiguous instructions from the competition tender: "Regarding the architectural, townscape and fac;ade forms, the be st solutions are those, where the applicants use modern forms to find a har-(and the last official) C1AM congress was devoted to the topic of monious contact to the monuments. ... It is desirable that the "identity". The last social-realistic style building was published in the periodical Magyar Építőmíívészet (Hwzgarian Architecture) just a few months before, in the fal! of 1955. The retum of modem was a liberating process for Hungarian architects. However in that special context several questions emerged conceming general and local topics. Wlzat is tize attitude ofmodenz architecture to Us old environment? ls it possiblefor modem arclzitecture to have a national character? How to put into practice the-still valid-theoretical demand for socialist content and nationalfol171 now by means ofmodem architecture? Some of these questions were very similar to those raised in America and in Western Europe. The annvers were Izmvever different.

The aim of the article is to interpret the body-mind relationship in Herzog & de Meuron's architecture. We surveyed their architecture over the last twenty years, uncovering the parallel changes in buildings and writings, with the theoretical trends in the background. We found that a clear shift in their approach has been manifest. In the first phase, the architects' bodily and intellectual sensations were mediated through the building, whose subtle deviations from architectonic rules were perceivable more to the senses than to the mind. In the second period, the sensuality of buildings increased, while intellectually they referred to the present. The buildings still had their integral body, but they had lost a clear contour. In the last decade, the buildings operate with an arsenal of material and sensuous effects; the aim is intensity, which is often reinforced with direct formal analogies. The body of the visitor is put centre stage.

Reinvention and reinterpretation of the Modern Movement emerged in the middle of the 1990s. It was represented in buildings recalling the classical details of modernism and was distributed in the architectural media as well as by theoretical forums. The newly modern trend returned to prewar modern architecture, which promised a new golden age of modernism by rejecting the compromised modernism of the socialist period, as a media tempestas. The newly modern managed to solve the identity crisis of modernism: the local tradition of Buda eventually legitimated modernist architecture throughout Hungary. However, among the restrictions on historical and stylistic issues, technology and modernization could not make way for a progressive architecture. The newly modern served mainly one class, the re-emerging Hungarian bourgeoisie. The economic crisis eventually marginalized the whole newly modern movement.

The contemporary wine architecture built in the sacral landscape, their interaction and philosophy are the particular focus of this paper. The paper presents two recently completed winery complexes in Hungary, the Bazaltbor Winery (2010) and the St. Ilona Winery (2013). Both of them are built at the foot of the volcanic hills (Badacsony, Somló), which "witness" the reunion of man and nature through over two thousand years of wine culture. The research goal is to discover the architects' and landscape architects' intentions, how did they face the challenge? Did they subordinate the winery to the landscape, did they copy the shape of the natural landscape, did they hide the building under the earth or did they re-interpret the whole situation? Did they react to the sacrality of the place?

Contemporary Hungarian historians agree that the key to the understanding of the processes of the 1960s can be found in the political system.1 e conscious, politically driven consolidation of the socialist system resulted in an optimistic period of the long Kádár-era2: it was the decade of thaw, breathing more freely, new chances, more freedom and raising living standard. However two phases are clearly distinguishable within the long decade. e rst was the period of rebuilding political and ideological positions of the party between 1956-1962, while the second period was characterised by easing in politics, partial and then overall (though not fully realised) economic reforms and a certain openness in culture.3 e reorganised Hungarian Socialist Workers’ Party – parallel with the political retaliation – also rede ned the place of arts and literature within its politics. e aim was to diminish the leading social and political role of literature: the Hungarian Writers’ Association was ba...

Cities are dynamic entities in perpetual evolution. Through this process, vacant spaces tend to appear under different circumstances. Certainly, empty and abandoned lots in a dense urban fabric are easily locatable. That their state persists over a considerable period is what makes them remarkable. This phenomenon may be viewed from different perspectives by urban planners, architects, geographers, economists, environmentalists, sociology academics and policymakers. Therefore, multiple data, parameters and definitions are in play. This multidisciplinary combination could quickly create a terminology issue in the scientific body related to urbanism and open space design. This paper presents an overview of the definitions of urban vacant spaces, taking into consideration the various perspectives. While following the timeline and the changes in the interpretations of the vacant urban space, it becomes evident how this phenomenon came from a problem of failed urban design to a possible ...

After the 1990 change of the political system in Hungary the Budapest Municipal Council displayed about 40 statues from the former communist and socialist regime in a park. This paper aims at presenting the story of the park from the first idea up to now, giving a parallel analysis of the political intentions, cultural reactions and the changes in the architectural concept and realisation. The twenty-year history of the park is an example of the vague common memory: the way from the first laud opening of the place celebrating the recent change of the political system up to the inauguration of the second phase devoted to the memory of the uprising in 1956 remembered in the silence of candlelight.

Sigfried Giedion’s seminal paper of 1954 on new regionalism was first mentioned in Hungary by János Bonta in his opposition at the Congress of the Association of Hungarian Architects in 1961. He referred to it as an acceptable way of adaptation to the local conditions, to meet the given place, landscape, nation and circumstances. This was the first and the last case when this expression occurred in Hungary in the coming decades. However, the question of how to relate modern architecture to the local conditions was kept on the agenda during the 1960s. In the discussions, the reference point was never the region or the place, but tradition. Even though two parallel approaches can be detected. The representatives of the first trend referred to folk architecture tradition and proposed the detailed analysis of the Hungarian peasant buildings as an authentic source. The other source or rather model was Finnish architecture, which could develop a special but at the same time European moder...

E tanulmány bemutatja, hogy az egyik utolsó bizánci történetíró, Michaél Kritobulos hogyan alkalmazta az irodalmi utánzás eszközét II. Mehmed szultán drinápolyi beszédében. Megpróbálja feltárni a beszédben olvasható hosszabb történeti ekphrasis irodalmi mintáit és szerepét, majd az orációban található rejtett történetírói refl exiókat vizsgálja. Közismert tény, hogy a klasszikus szerzők történeti szereplőik beszédeiben számos alkalommal implicit módon saját nézeteiket szólaltatják meg a történelemről és a történeti megismerésről. Mehmed beszédének egyes mondatai arra utalnak, hogy e jelenség nemcsak a klasszikus, de a késő bizánci történetírásban is felfedezhető. Kulcsszavak: késő bizánci történetírás, irodalmi utánzás, Th ukydidés, történetírói refl exió

The aim of the article is to interpret the body-mind relation-ship in Herzog & de Meuron’s architecture. We surveyed their architecture over the last twenty years, uncovering the parallel changes in buildings and writings, with the theoretical trends in the background. We found that a clear shift in their approach has been manifest. In the first phase, the architects ’ bodily and intellectual sensations were mediated through the building, whose subtle deviations from architectonic rules were perceiv-able more to the senses than to the mind. In the second period, the sensuality of buildings increased, while intellectually they referred to the present. The buildings still had their integral body, but they had lost a clear contour. In the last decade, the buildings operate with an arsenal of material and sensuous ef-fects; the aim is intensity, which is often reinforced with direct formal analogies. The body of the visitor is put centre stage.

Due to their authentic urban and architectural character, the Medinas of Tunis and Marrakesh became listed among the United Nations educational, scientific, and cultural organization (UNESCO) heritage sites in 1979 and 1985, respectively. Nowadays, the urbanization of the surrounding green areas and the climate change impacts on cities are degrading the Medinas’ livability and their characteristic heritage. On the other hand, scientific knowledge and data about the green system in the dense urban cores of Medinas in the Maghreb region is still not a widely apprehended theme in the scientific domain. This research objective is to initiate nature-based and sustainable solutions in these cities by demonstrating the application of the urban green infrastructure (UGI) approach. As a research methodology, an analysis of the historical green system development in the Medinas is given to highlight their tangible and intangible values. The analysis goes over three periods: first, the medieva...

Arts are the main human expression encouraging man to expose his practices, ideas, and fears. This in turn affects and shapes his environment, an environment which keeps evolving into cities. Nowadays, human expression through art is playing a major role in the development of the urban landscape by shifting the old-fashioned paradigms of the rigid and static urban structuring and development, especially with the new urban trends floating on the surface. The case study of the Medina of Tunis is a paradigmatic example that illustrates the bottom- up approach of social participation in urban life through art. The research question asked here is to what extent has the artistic practices been influencing the urban development of the city's user experience? Can this be regarded as a necessary tool for the regeneration of the historical urban landscape? First, a general overview of urban development and the influence of the artistic practices have been presented. Issues such as urban t...

The aim of the article is to interpret the body-mind relationship in Herzog & de Meuron's architecture. We surveyed their architecture over the last twenty years, uncovering the parallel changes in buildings and writings, with the theoretical trends in the background. We found that a clear shift in their approach has been manifest. In the first phase, the architects' bodily and intellectual sensations were mediated through the building, whose subtle deviations from architectonic rules were perceivable more to the senses than to the mind. In the second period, the sensuality of buildings increased, while intellectually they referred to the present. The buildings still had their integral body, but they had lost a clear contour. In the last decade, the buildings operate with an arsenal of material and sensuous effects; the aim is intensity, which is often reinforced with direct formal analogies. The body of the visitor is put centre stage.

Community gardens have a long history worldwide. They offer an opportunity to reconnect the urban fabric ruptured by vacant plots, foster social connections, build community spirit, and promote sustainability. However, they have to face several challenges and obstacles like legal procedures, financial support and the changing engagements of the local communities. This trend appeared in Hungary relatively lately, about a decade ago. The paper focuses on vacant inner-city plots in Budapest. We analyse the situation and follow the story of four existing community gardens. We decipher the challenges they go through, especially their temporary status, the changing political circumstances and the accepting or rejecting attitude of the local population. On the other hand, we present the crucial role of NGOs and local communities in keeping these projects alive and raising awareness to improve their impact, improving city life.

e Sixties Contemporary Hungarian historians agree that the key to the understanding of the processes of the 1960s can be found in the political system. 1 e conscious, politically driven consolidation of the socialist system resulted in an optimistic period of the long Kádár-era 2 : it was the decade of thaw, breathing more freely, new chances, more freedom and raising living standard. However two phases are clearly distinguishable within the long decade. e rst was the period of rebuilding political and ideological positions of the party between 1956-1962, while the second period was characterised by easing in politics, partial and then overall (though not fully realised) economic reforms and a certain openness in culture. 3 e reorganised Hungarian Socialist Workers' Party-parallel with the political retaliation-also rede ned the place of arts and literature within its politics. e aim was to diminish the leading social and political role of literature: the Hungarian Writers' Association was banned in 1957 and reorganised only in 1959, but with a radically changed membership. After a short break, some new literary and cultural periodicals were launched. e divisive cultural policy intended to create a neutral politico-literary life: political power o ered media for intellectuals with controlled freedom on the political eld but with greater openness towards cultural modernisation. 4 Reorganising some existing informative scienti c journals served the same purpose, however while the highlighted social role of literature ceased, the relative dominance of human intellectuals was present during the entire Kádár-era. Architecture was also touched by the post-revolution reorganisation of the political and economic system but politics treated it di erently than other art forms. e rst part of the 1950s-not only in Hungary but also within the whole socialist camp-was characterised by the style known