Prakfalvi Endre: Architecture of Dictatorship. The Architecture of Budapest between 1945 and 1959 - Our Budapest (Budapest, 1999)

of three figures, such as Károly Antal’s Wrestlers, Agamemnon Makrisz’s Young Singers, Jenő Kerényi’s Participants in a Procession, Árpád Somogyi’s Pony Riders, István Tar’s Grenade Throwers, András Kocsis’s Agriculture, Iván Szabó’s Folk Dancers, Zoltán Olcsai Kiss’s Gang of Mechanics, András Beck’s Tourists, Sándor Mikus’s Football Players, and Sándor Várady’s Bayonet Fight. The sculptural group of the procession route was meant to connect the comprehensive architectural-artistic programme of the Népstadion to the underground railway.

“Underground lines branch out fast Under city, house and river,

From a backward, squalid past,

To a future brighter, better. ”

(Metró, 1952 - company journal)

Nothing is visible today of the architectural appearance of the east-west underground line, but the route of the track, sections of the tunnels and the structure of certain stations deep beneath the surface (as the one at Deák tér) preserve the concepts of the period. An account, brief as it may be, should be given of the work that was second in magnitude

The dressing-room building

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