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László Gáspár (1971)
Péter Pottyondy

Ferenc Lázár (1971)
György Skardelli
(1955)

László Szabados

László Gáspár:
...I'm looking for my place in the world. It sounds romantic, but it's true.

...I think of working in a foreign country, since I don't have to carry a family around with me, or leave them here, it's probably easier this way, too.

Ferenc Lázár:
...I have two sons. The eldest is seven, the youngest is five. They're fantastic. It's great watching them and experiencing their minds opening wider to the world every day.

...I hope that with Hungary joining the European Union the cooperation between countries will be even tighter. This would not hurt our national consciousness or national character.

...Most of the people in my immediate surroundings who have spent a lot of time outside the country are homesick and eventually come home. If you feel a bind you don't loose it just because you work in a foreign country.

Péter Pottyondy:
...There are several reasons why I'm feeling great. One of them is that I have a bunch of healthy kids and a fantastic wife. And I like what I'm doing here.

...A building is generally called something. It's a cinema, a church, a house. This one doesn't have a name. It's called a "multifunctional hall". That's not a name. What is different from the stadium that burned down is that it has to serve this new function. There's no time for tuning, to put things here and there; an event comes in one door and leaves through the other while the next one's coming in already. The old one was called a sports stadium, because its primary function was to host sports events, for which it served well. We liked the stadium and had a tough decision to make when we decided to tear the whole thing down. It wasn't an easy decision, but we had to understand the reasons.

...Here in Hungary there aren't any throw-away houses just yet, and in our conscience the concept of "house" is not something you throw away. If we choose the car industry as an analogy, where the company makes products that somehow don't work quite as well in three years' time and the owner buys a new one, then if I'm part of a house producing mechanism which is obviously a good thing businesswise, but not spiritually. In Europe, but even more so in the United States, a house is a temporary shell, like clothing, which you outgrow. People come and go in it, and then it's torn down. Not here. Here they say a house is the work of a lifetime.

György Skardelli:
...One project follows another and the only problem is that you have to invest a lot of energy if you want to get good commissions, not to mention a bundle of luck.

...The past fifteen years have been positive for me, without doubt. Things were quite colorful around here, various governments of various orientations came and went and we had to learn how to relate to a democracy, it's something that has to be learnt because when it suddenly happens a fantastic, consolidated civil society doesn't just appear by itself.

...The chief entrepreneur and partial investor of the Aréna was a French company known all over the world, actually the biggest construction company in the world. What was most enlightening in the whole process was that there was no pressure.

...What's most important for a father is that his sons find a path in life that they are happy with, and that they can use to make a living out of. I feel that my life is an absolutely happy one, even though if someone would walk in my shoes for a week they'd probably say I'm crazy. I get to spend most of my time doing what I like, and that's very-very important.

Budapest SportAréna
Planning company: KÖZTI Rt.
other contributors: Zsolt Farkas, Tibor Molnár establishment architect: László Szabados

Living, natural architecture: the gigantic form resembles a stone. A building of similar scale stood in its place, which burned down in 1999: the cylindrical Budapest Sports Arena, a 1982 adaptation of a Soviet hall construction system. The 2003 version: an almost high-tech, but still homey building. A huge complex compiled with almost prosaic simplicity. Deconstruction peeks out from here and there, yet the gracefully formed symmetric body and the two large and three smaller crystal blocks on the neighbouring huge area demonstrate unity. Inside the arena huge steel trusses line up above us, just like in an industrial hall. This is where modern architectural intent can be caught in the act and easily experienced: the transference of technical language into everyday visual poetry. This intention was palpable in the previous building, but is even more so here. This is how the architect can set an example before the trendy design world, which often exaggerates and manipulates the taste of the community.

 

 

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