Avicenna Kutatóintézet

épület

Alkotó(k): Makovecz Imre

Piliscsaba

Avicenna Kutatóintézet (Makovecz Imre vázlatai alapján)

Fotó: Dénes György

Vázlatok: Makovecz Imre

Munkatárs: Terdik Bálint, Turi Gergő, Juhász Balázs

Tartószerkezet: Pongor László

Épületgépészet: Kovács István

Dísztér, kert: Buella Mónika, Turi Attila

Kivitelező: Laterex Zrt

A piliscsabai egykori laktanya revitalizációjával kialakítandó kutatóliget – melynek fejlesztésére Makovecz Imre alapítványt hozott létre – első, központi eleme az Avicenna Közel-Kelet Kutatóintézet épülete, ami a mester solymári iskolájának meg nem valósult, esszenciális tervén alapul. A makoveczi életmű gondozására a mester halálát követően, 2013-ban kormányhatározat született, majd születésének 80. évfordulóján a magyar kormány − kifejezve, hogy az életmű megóvásra érdemes kulturális és nemzeti értéket képvisel – bővebben rendelkezett az életmű és a hagyaték gondozásáról, s annak a jövő nemzedékkel való megismertetéséről. Konkrét feladatokat jelölt ki, tizenkilenc beruházás – köztük az Avicenna Közel-Kelet Kutatások Intézetének – megvalósulását támogatva. Turi Attila a kutatóintézet tervét az ipari romkörnyezetet revitalizáló solymári iskola unikális épületének egységes ideát sugárzó vázlatai alapján javasolta kibontani. Iniciatívájához társakra lelt az örökösök, a Iosephinum Fejlesztéséért Alapítvány és az intézetet vezető Maróth Miklós professzor személyében. Felmerülhet azonban a kérdés, hogy ha egy vázlat átalakul az új igények mentén, Makovecz-épület marad-e még? Szabad-e az átszabás igényével nyúlni egy korábbi tervhez? E kérdések megválaszolásához ismerni kell Makovecz műhelyének működését, valamint sajátos tervezési metódusát. A mester általában csak néhány vázlatot rajzolt, melyeket tanítványai, munkatársai dolgoztak fel, az átadott vázlatokban azonban mindig megragadható volt a teljes épületet átható, minden részletre kiterjeszthető alapgondolat. „Az Avicennához felhasznált rajzokban – a struktúraalakításban, részletképzésben – kitapintható az eredeti kép kifejtésének iránya, a mester akarata"– vallja Turi. „A három, különböző – az igények alakulását követő – tervezési fázist mutató vázlat szándéka, eredője ugyanaz volt." Ezekből kellett legjobb tudása, tapasztalata és építészeti hitvallása szerint kibontani az intézet programjának (sűrűbb helyiségrendszer), a helynek (laktanyából kutatóliget) és a dramaturgiának (a szomszédos piliscsabai katolikus egyetemnek és a mester által életre hívott alapítványnak) megfelelő architektúrát, a különböző időszakokban készült vázlatok részleteit egységes rendszerbe illesztve. Kisebb lett az átmérő az igények miatt, nőtt a párkánymagasság, miközben megmaradt a belső átrium nagysága és aránya. A vázlat nem adott támpontot a nyaktagot váltó önálló bejárathoz, így az Makovecz egyiptomi rajzai inspirálta átiratként került megfogalmazásra, jellegzetes ikonográfiával. A bejárathoz a sevillai Narancsudvar mintájára alakított, feszes szerkesztésű dísztér vezet (munkatárs: Buella Mónika), ami egyben a folyamatosan kiépülő kutatóliget városi hangulatú előtereként is szolgál. A tér középpontja, akár a granadai Alhambra Mirtusz-udvarában a vékony vízréteget biztosító vízmedence, melyet négy kiemelt ágyás és a felezett raszterosztásban telepített összeboruló fák alkotta, a cordobai Patio De Los Naranjost idéző árkád-térfal övez. Az előképek világos üzenetet hordoznak: az európai iszlám kultúra érett formában az Ibériai-félszigeten maradt meg több mint hétszáz éven keresztül, s a reconquista utáni átalakítással élő szövetként máig őrzi a kultúrák egybeolvadását, sajátos együttélését. Nem mellékes, hogy az épület közel nulla energiaigényű. Kísérletek és csomóponti tervek egész sora kellett ahhoz, hogy bizonyítást nyerjen: a praktikum és az esztétika nem egymást kizáró fogalmak.

In 2007, Imre Makovecz created a drawing for the Fészek Waldorf School in Solymár, showing a cylindrical three-storey building covered with a lens dome. For unknown re sons, both the original and the modified versions were shelved. However, the idea was preserved and, even though I could only catch a short glimpse of it, it captivated my imagination. It was a unique masterpiece, even by the standards of the Master; a piece of round, monolithic architecture protected by winged creatures all around; a central, multi-level structure similar to the grammar school in Sárospatak. Essence. After Imre Makovecz's death, a government decree was adopted in 2013, on provisions regarding the management of Imre Makovecz's artistic legacy. Later, with the occasion of his 80th birth anniversary, the Hungarian government, wishing to express its commitment to preserve the cultural and national value manifested in the oeuvre, adopted a more detailed legislative act on the management of the legacy and its promotion among the future generation. The act assigned specific tasks to support the implementation of nineteen projects, including the Avicenna Institute of Middle Eastern Studies. Attila Turi suggested that the designs of the research institute should be based on the sketches created for the school in Solymár, revitalizing the derelict industrial buildings. His initiative was taken up by the inheritors, the Iosephinum Foundation for Development and the head of the institute, Professor Miklós Maróth. Some might wonder whether a building constructed on the basis of a reworked sketch can still be considered the work of Makovecz or not. Is it appropriate at all to rework earlier plans to suit new demands? In order to answer these questions, we should consider Makovecz's unique design method and the way he operated his workshop. The master usually drew only a few sketches, which were processed by his students and colleagues. However, these sketches always contained the basic concept for the entire building, extending to every detail. "The will of the Master was clearly understandable in the drawings used for Avicenna, including the underlying structure and all the details", says Turi. "There was a single creative concept behind the three drafts, created for three distinct design phases." Using his best judgment, experience and architectural knowledge, Turi integrated the three drafts, created in different periods, into a single system, while also considering the program of the institute (more densely packed space), the location (transforming the old barracks into a network of research facilities) and the scenario (the requirements of the Pázmány Péter Catholic University and the foundation created by the master). In order to meet new demands, the diameter was reduced and the height of the ledge was increased, while the size and proportion of the inner atrium was left unchanged. Since the sketches contained nothing about the independent entrance, its design was inspired by Makovecz's Egyptian drawings, with distinctive iconography. A tightly-structured ornamental courtyard, fashioned after the Orange Courtyard of Seville, leads up to the entrance. This courtyard also serves as an urban-style lobby to the continuously developing network of facilities. In the center, there is a shallow pool surrounded by four raised seedbeds and a row of trees, resembling the Myrtle Courtyard of the Alhambra and the Patio De Los Naranjos in Cordoba. The message is clear—the late Islamic culture in Europe was preserved in the Iberian Peninsula for more than seven centuries in spite of the modifications carried out after the Reconquista, and its living fabric bears witness to this unique coexistence of different cultures. It should be noted that the building is a near-zero energy structure. It should be noted that the building is a near-zero energy structure. A series of experiments and node designs were needed to prove that practicality and aesthetics are not mutually exclusive.