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Zsófia Csomay (1940)

Éva Magyari

Zsófia Csomay:
...I have no weapons, I'm absolutely unarmed and vulnerable to the world, money, clients, everyone. The only thing that interests me in this profession, aside of the professional aspects, is the human component.

...In my experience the architectural product depends very little on one's good intent or abilities. In the world of money, which is foreign to me, the power of money always seems to work against high quality. If there is no civilized reception for architectural issues, then they are reduced to mere material and financial problems on the part of the client. Because you have to understand something of ideological value in order to be able to make sacrifices for it. And the problem is that it is precisely this understanding which is lacking. I think architects will have an easier job once the clients' intelligence and education is raised to a higher level.

...I work whenever I am not with my family or out running. My strange lifestyle developed when my children were small and I refused to waste the daytime, God's light, with cooking, but I had to take care of my family. I always enjoyed playing with the children, so I got used to working at night. I feel fine. As a woman and as a person, this is the amplitude of my existence. One minute I fall into despair and cry, the next minute my joy is limitless.

Éva Magyari:
...Luckily, in our profession we often meet people who are a lot like we are, who think like we do, who are just as natural as we are, and who do their work with the same love we do. There are four of us in the studio, we have been together since 1976, which was when we finished college. What is valuable to me, what do the others consider valuable - this is what we talk about, and we're friends too. Our children grew up side by side.

.It's obvious, that these fast, spectacular, showy so-called results are recognized and widely accepted as values, but these mean nothing to me. One doesn't pay attention to these.

...I don't feel that I'm missing out on anything. It would be nice to go to a few places, just to have a look around. If anything that's what I miss, throwing a sack over my shoulder and just going wherever I please. I miss that.

...The past few years I have definitely felt that the profession is less respected. Not that it was ever held in high esteem, but I feel that architectural design just isn't as important anymore. I always feel that I just can't work any more than I do, but then I always do. I feel that today one has to struggle and suffer more. The earth was never solid, but it's as if it were more unsure today.

Porcelain Museum interior architecture
Herend, Porcelain Manufacture

The late neo-classical two-story building of the Porcelain Museum of Herend is visible from quite a distance as one approaches the town. The first pieces of the famous porcelain ware of Herend were created within these walls. Though rebuilt several times during the 1840's, the main building changed little during the course of time. In May 1998 the loft was utilized for the creation of office space, a restorer's studio and storage space, which was followed by a competition for redesigning the interior of the museum. The fact that the one-time factory building is a national heritage was a factor that had to be considered during the course of planning. The architects kept the original main walls intact and conformed to the historical nature of the building, but were able to form up-to-date interiors within the new exhibit areas, mainly with the aid of modern furniture and showcases. For example, on the second floor the planners took into account the fact that the area had been used as residential unit and created a group of rooms for the permanent exhibit with keeping the original floors, the room-like division of space and the hallways leading up to them.

 

 

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