Prékopa Ágnes (szerk.): Ars Decorativa 29. (Budapest, 2013)

Imre TAKÁCS: The Upgrade Programme for the Budapest Museum of Applied Arts

the essence of the museum. Their approach is fundamentally opposite to Ödön Lech- ner’s artistic aspiration. Unlike their great predecessor, they were not primarily concerned with issues of architectural style but with the organic links between function, fundamental tasks and operational units. The other feature of the plan, not unconnected with this approach, is the distinctive distancing of the new wing from Lechner’s creation as regards materials, colour scheme, building outline and frontage design. Neither should we be surprised that the sharp distinction of the new from the old does not result in rivalry or antithesis, and does not generate tension. It follows quite clearly from the above approach. The puritanical monochrome of the enormous white block they have proposed and the disciplined wall-plane design comes over as a modest backdrop, a kind of salute to the great master. The new corner wing is like a passe-partout, masking the jarring aspects, itself neutral, but conserving the harmony of the art work it frames: the fairy-tale castle restored to its original glory (Fig. 14). The consistent implementation of this decision bears witness to a thorough understanding of role and task, and the quality of the result shows up in the overall philosophy as well as the architectural and technical designs.

The priority for the architects was to facilitate the reception and service of visitors and their passage through the exhibitions. The design implications of this show up even in the corner of the square adjoining the museum. Instead of a few steps leading out of the metro subway, they have designed a gradually-inclined, curving ramp. As people pass along the ramp, whether or not they are heading for the museum, the magnificent sight of the Lechner building,

clad with Zsolnay tiles and picked out with polychromatic cupolas, gradually emerges before them (Fig. 11). This draws attention to the architectural masterpiece, and to some extent conveys an invitation to enter. Visitors arriving through what will remain as the main entrance into the polychromatic-tiled foyer do not immediately encounter the exhibitions. Instead, the architec15. The new approach to the Museum of Applied Arts, Vikár & Lukács Architects Studio Ltd., 2012-13

tural experience which started upon their approach gradually intensifies and - as they pass from the shadowy foyer into the light- drenched expanse of the Glass Hall - culminates in the imposing spectacle of the hall itself with its restored subtle colour scheme and the lights gleaming from the surrounding galleries behind the arcades, where the exhibitions start. Initially overwhelmed by this unique interior, despite the build-up of the frontage and the foyer, they may then pause to absorb and enjoy the visual effect of Lechner’s magnificent creation.

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