István Szenes' work so far illustrates the history of Hungarian architecture/interior design, as well as that of his own generation, over the last fifty years. Through his body of work, we can get an impression of what interior design is. Shaping space and environment through the creator’s talent, which encompasses not only the material and intellectual possibilities of their own era, but also an understanding of the client’s needs—indeed, even the ability to influence them. Szenes' design work is at the forefront of the profession, as his fellow interior designer György Fekete put it in an article written about him:
"István Szenes is one of the leading figures of the Hungarian architects and interior designers. He is not to blame for the fact that we always and everywhere talk only about money and the scandals associated with it, and little about how money becomes art, artwork, a liveable living space, i.e. quality [...] István Szenes [...] has reached the summing-up period of his life. He designs, teaches, makes friends, learns, lives, loves and leads by example. Quietly but convincingly. As the greatest do." (Interior designer György Fekete: Őrizni a múltat, teremteni a jövőt. Szenes István belsőépítészről belsőépítész-szemmel. [lit. Preserving the Past, Creating the Future. István Szenes on Interior Design with an Interior Designer's Eye.] In: Magyar Iparművészet, 2003/2.)
The designer
All the interviews with him radiate a virtuosity of informal expression.
As a young man – mainly to have somewhere to work – he joined the MAFILM studio [Hungarian National Film Production Company 1948-2022] as an assistant set painter. Here he met great people such as Tivadar Bertalan, Endre Szász, János Herskó, Márton Keleti, Zoltán Várkonyi, and met many of the famous actors who worked in their films. In retrospect, we can say that he managed to incorporate the experiences he gained there, not necessarily consciously, but very effectively, into his later works. However, it is also worth pointing out that when he finally got into the College of Applied Arts, he was open to the high quality of education and teachers there, which was typical of the original artist.
"I tried my luck at the College of Applied Arts, majoring in interior design. There was a fantastic spirit there at the time. During the rectorship of Frigyes Pogány I had the opportunity to meet teachers who are now legendary figures in the profession (Antal Jakuba, György Jánossy, Károly Jurcsik, György Szrogh, István Németh, Ferenc Vámosi). I loved interior design; I felt that I could exploit all the facets of my personality. I have a tendency toward exactness, though perhaps I’m not as exact as an engineer, and I do have artistic sensitivity, even if not as much as a fine artist." (Zoltán Nagy: A pálya sodrában [lit. Amid the Currents of the Career], ATRIUM Építészet-lakásművészet-design 1997/4)
The impressions of the family background should also be mentioned here. The manifestations of the often-eccentric avant-garde artists grouped around the architect and artist Miklós Erdély, and the creative energy radiating from them, initially covertly, but increasingly strongly, prompted István Szenes to seek his own artistic form. This intellectual impetus was in fact beneficial to his vision of fine art/interior design, which is still evident today. The intellectual loyalty with which the now successful interior designer recalls the inspirational sources of his early career, his colleagues and, finally, his first prestigious job at the Public Building Design Company (KÖZTI), which was to be the basis of his entire later career, is almost touching.
"The first week I was very scared, I thought I would meet a bunch of stiff engineers after the completely openminded film studio, and it turned out to be a fantastic life at the KÖZTI, although a bit more reserved than the film studio [...]
I have learned a lot here. I had to go to negotiations, I had to do the planning, I had to learn the phases... We worked on the public buildings, the hospitals, the theatres, the cultural institutions. We got the biggest jobs, almost naturally. It was a protected, glass-house situation. It was only later, in the late 70s and early 80s, that the institutions started to do other things than specialist work. Mostly an investment company acted as an intermediary, you had to fight your way to meet the client. I feel that direct contacts are extremely important. Even for formal work, I always found a way to talk to the director of the hospital or theatre. This is still one of my vital principles as an interior designer. You cannot design impersonally." (Zoltán Nagy: A pálya sodrában [lit. Amid the Currents of the Career], ATRIUM Építészet-lakásművészet-design 1997/4)
Senes seems to have gradually learned to find a balance between his informal artistic soaring and the increasing number of his tied commissions. At the same time, the varied profiles of these commissions did not alter his artistic creativity. The architectural profile of the KÖZTI was built on versatility, and for István Szenes the greatest discipline was certainly to adapt to the strict requirements of the so-called medical institutions. On this problem, he said at one point:
"I don't like strong colours, big shifts in tone, contrasts. I prefer a more subdued, harmonious world. I've had to do a lot of hospital sets, contrary to my individuality and my background as a film set designer. I wanted to design richer, more vibrant things, but life has forced me to be disciplined in my attention, now I must do something else. I've learned how to hold myself back."
These rules of restraint and adaptation reinforced another of his design attitudes: the priority of direct human relationships, mentioned earlier. Added to this, his attitude to fashion changed. When asked by a journalist about his own taste, Senes replied:
"In the late '70s and early '80s I started to appreciate the old things again. One is constantly in a dilemma when exploring the professional literature: seeing where the field stands abroad, noticing the trends, one would like to implement the same in the domestic context. But in Hungary, public taste is conservative, and it is very difficult to establish a modern approach here - one that is neither avant-garde nor conservative. I believe that people of our time should live in the world of our time. If older furniture does appear, it signifies respect for the past." (For both quotes, see Zoltán Nagy: A pálya sodrában [lit. Amid the Currents of the Career], ATRIUM Építészet-lakásművészet-design 1997/4)
Of course, establishing an independent designer-artist identity also requires the right opportunities to succeed. István Szenes always considered himself fortunate - and rightly so - that as a young professional he joined KÖZTI, which at the time played a significant role among the major state design institutes. This not only meant that, by its very nature, he could participate in the most important and representative new projects, but also that during the reconstruction of older buildings he could learn the professional techniques of the outstanding designers and builders of previous decades. Every creative artist working in a workshop knows that to realise his imaginative plans, he needs well-trained craftsmen, who often contribute their ingenuity to the result. The reconstruction of the theatres in Veszprém and then Nyíregyháza contributed greatly to this.
The architect Mihály Vargha, who later became the editor-in-chief of the Új Magyar Építőművészet (New Hungarian Architecture), praised the values of the Nyíregyháza theatre as follows:
"Attila Gáva, architect, István Szenes, interior designer and many others who worked with them on the renovation of the Móricz Zsigmond Theatre in Nyíregyháza have done a great job. [...] The essence is the brand-new overall appearance of the auditorium. This is a basic formula rarely used here: the form, the ‘house within a house,’ or, in the simplest terms, an inward rotation. It was the open-air Greek theatres, then the Roman theatres, that anticipated this direction, Palladio's Teatro Olimpico in Vicenza being the first theatre – drawing on their world – to include even the permanent set in this unit. Examples of theatre architecture of recent decades include the English and American theatres and the famous Taganka in Moscow. In contrast to the ossified Hungarian idea of theatre, most of these theatres are open, not rigidly proscenium framed. [...] The interior details show external, mainly façade features. They have slightly different proportions and use different materials, making good use of the ever-newer possibilities of lighting technology. The most striking feature in this respect is the chandelier in the auditorium, which is in fact a ball of light. The sun and the moon at the same time, which is no longer just inside and outside [...] but day and night. In this way, the formal concept comes very firmly to capture the theatrical essence. The colours are restrained, the lighting is allowed to prevail, and of course the audience itself, and the play for the audience. [...] The other great improvement of the theatre with the recent renovation is the humanisation of the artists' entrance, the ‘service areas’, the staff rooms. The exterior of the building is also unified and very noticeably humanised. [...] In 1979, the theatre, originally designed by Ignác Alpár, had to be made suitable for a permanent company of around 130 people. The possibilities and the conditions were almost exceptional in Hungary: there was plenty of free space for expansion directly behind the theatre (unfortunately, the new technical director intervened and several unsuitable building units were moved in, such as the transformer house) [...] The point is that now, 20 years later, the strengthened and nationally accepted company has a well-formed, renovated home in Nyíregyháza, and the transformer house has finally been removed." (Mihály Vargha: Színház, nem vitrin, Nyíregyházi megújulás, [lit. A theater, Not a Display Case: The Renewal of Nyíregyháza]. Új Magyar Építőművészet, 2001/6.)
István Szenes also discovered the enormous spatial potential of Bartenbach lighting technology, which he used to add a new motif to the original eclectic style of the building. It can be assumed that the reputation of an interior designer's professional solutions can have a major influence on the decision to entrust him with similar tasks in the future. It seems that the colourful world of the theatre itself as a task, together with the lavish richness of expression in the earlier building reconstructions, enabled Szenes to establish an increasing number of contacts with a wide variety of firms, which were also essential for the construction. It makes a difference how the impact of traditional expressions – possibly using new materials – can be refreshed, and where the most applicable sources of modern construction technologies can be found. Undoubtedly, this broad professional experience also contributed to István Szenes being entrusted with the significant task of reconstructing and modernizing one of Budapest’s most prominent buildings, today known as the Uránia National Film Theatre.
In addition to the complete replacement of the obsolete mechanical equipment and the necessary insulation, the decorative painting of the dome motifs was carried out. The basic principle of the design was to create a harmony between the original architecture of the dome and that of the lobby, which was built in 1930. "The interior design work began with a clear and authentic reconstruction of the interior cladding, colours and motifs, after the spaces had been cleared," says István Szenes. "The removal of the 9 layers of paint covering the walls revealed the original patterns beyond any doubt. The ground floor was covered with a custom-made reddish brown and gold wallpaper in the same pattern and colour, while the upstairs was and remains dominated by a silver grey and turquoise version with a similar system. Entering the main entrance, the warm-toned counters designed by the interior designer were placed [in the foreground], and similar ones can be found in the café. The ceiling is made unique by a richly decorated beam series painted in antique gold with a patinated effect, along with the spaces between them, which are also adorned with oriental-style decorations. Gold-framed, pointed-arch mirrors are everywhere: on the ground floor, upstairs and in the theatre, where, placed opposite each other on opposite walls, their reflections multiply the already elegant interior space, giving the interior a truly Venetian splendour. The gracefulness and richness of form of the individually designed and manufactured lamps and chandeliers in the Uránia Café and in the lobbies are a tribute to the sensitive creative imagination of Tamás Grünberger. The brilliant, ornate chandelier in the dome space was recreated using thousands of tiny crystals from the original." (Valéria Jankovich, Házépítés [lit. House Building], n.d.)
István Szenes saw the possibilities of increasing the interior spaces as a particularly exciting solution to this challenge, which would also satisfy the expectations of today's audiences with their greater space requirements. He has enjoyed using the richness of old and new materials and effects, acoustic textiles and the Moorish motifs that have emerged in the newly opened areas. The beauty of the building and the high quality of the restoration have also brought the designers considerable professional recognition, which is why they have been awarded the prestigious Europa Nostra Award. The renovation of another old building, the Palace Hotel, was a much more complex task. It was not only a matter of transforming a huge building that had previously been a light entertainment venue into a hotel with modern needs–and to meet the specific requirements of the NOVOTEL hotel chain–but also a combination of the renovation obligations of the old-new listed building and the incorporation of new areas.
From István Szenes' extremely rich oeuvre I highlighted the building of MATÁV Rt. [Hungarian Telecommunications Company] in Krisztina Boulevard, Budapest. This large-scale project was carried out within the framework of his independent business, Szenes Design Studio, which he set up in 1995 together with his interior designer colleague László Gergely. The most authoritative source for the interior designer's workshop work is his own technical/professional description, from which I will quote a few thoughts:
"The building, designed by Pál Németh and completed in 1954, was home to the Metallurgical and Mechanical Engineering Design Institute until the 1980s. In 1997, the building, which was owned by MATÁV Rt., was renovated in an invitation-only competition won by the Török and Balázs Architectural Studio (Ferenc Török, Kossuth and Ybl Prize-winning architect, and Mihály Balázs, Ybl Prize-winning senior designer) under the direction of Rády Építésziroda Kft. The architectural plans were prepared under the direction of János Mónus, architect.) A fundamental aspect of the design was to ensure that the distinctive architectural concept, which was born from the building's specific characteristics, was also applied internally. We have used materials, lighting systems and furnishings that reflect the most contemporary forms of expression today. We have tried to create harmony in the interior spaces with a purposeful, not lavish, but rather puritan elegance. The main attraction of this vast 33,000 m2 social-realist building is the central lobby, which was created by covering the inner courtyard. This central space is where the conference centre, with a capacity of 400 people, is located, like an artificial hill, due to the characteristics of the site. The courtyard is surrounded by high ceilings, with offices for 40 to 45 people, while the main entrance wings house the executive offices and meeting rooms. A particular design challenge was the interior manifestation of MATÁV Rt.’s corporate identity, which we implemented mainly through supplementary elements. The distinctive MATÁV burgundy and grey colour and logo appeared both on the signage and on interior sculptural features, as well as on the lobby’s flag."
The new museum building of the Holocaust Memorial and Documentation Centre [Holocaust Memorial Centre] is one of the most significant interior design projects in recent years. István Szenes designed the Kodály Memorial Museum in 1990 together with architect Miklós Marosi when he was still a designer at the KÖZTI, then, within the framework of the Szenes Studio, he and architect István Pál completed the reconstruction of the Museum of Transport in 1998, then the Museum Playhouse in 2004; while in 2004 they designed the Holocaust Memorial and Documentation Centre [Holocaust Memorial Centre] together with a former architect, by which they won the Architectural Award of Excellence. With the largest Jewish community in Central Europe living in Hungary, and as the largest [Neolog Jewish] synagogue in [Europe] is in Budapest, this project is of great importance for society.
The Neolog Jewish synagogue, built in the 1930s, bears the motto “Love thy neighbour as thyself", which reflects the synagogue's sympathy with New Testament ideas. The so-called outer and inner walls of the Temple of Jerusalem appear as a symbol in István Mányi's concept, while the inner temple was designed by László Gergely. The three architects have made an extraordinary effort to express both the intimacy of the interior of the adjacent spaces and the seamless passage to the offices of the so-called documentation department. I have mentioned on several occasions that light, lighting technology plays an important role in István Szenes' interior design concepts, here too light is projected through glass prisms into the various spaces. For me, the doors, such as the one leading to the lower space, are particularly noteworthy motifs. The door, as such, in this building, has in many cases a defining, symbolic meaning. It is worth mentioning, as probably few people know, that there is also a garden on the roof of the building. The Holocaust Memorial and Documentation Centre has become one of István Senes' most significant buildings, with an intimate architectural design that is infinitely adaptable to the religious. In collaboration with István Mányi they have also designed museums in later years, such as the auditorium and shop of the Museum of Fine Arts in 2006, and the Hungarian Natural History Museum with interior designer László Gergely in 2007.
Undoubtedly, the spatial design approach represented by the Szenes Design Studio was very popular within the Hungarian commercial banking network. In a single sentence, it could be summarized as follows: for clients entering the branches, the emphasis is on a modest yet elegant appearance and on materials and furnishings that symbolize the precision of office work, rather than any glitter suggesting the power of money.
In recent years, several Hungarian cultural institutes abroad have undergone renovation. The winning design competitions for these projects were executed by István Szenes. These interior designs provided an excellent opportunity to represent Hungary in the most elegant manner to visiting foreigners and diplomatic missions. Among the gradual reconstruction projects, the renovations of the Hungarian Cultural Institutes in Moscow and Prague were started and completed first, followed by the new institute established in Brussels, whose successful inauguration took place just a year ago. While the Prague and Moscow buildings are characteristically historic, in Brussels a modern, centrally located building with excellent potential allowed for the creation of a contemporary, multi-purpose space suitable for exhibitions and community events. The newly constructed building, which incorporates part of the former city wall, exudes a unique atmosphere, combining the design demands of the medieval era with those of the present day. The built-in furnishings and the selected furniture, materials, and colours were intentionally designed to harmonize with the existing environment.
The interiors of the building in central Prague, dating from the 1700s, reflected the design style of the 1970s before the renovation. During the refurbishment, with careful attention to heritage protection, the entrance lobby and reception were renewed, a state-of-the-art lecture and screening room was installed on the upper floor, and in the basement, a series of exhibition halls was created under the reconstructed vaulted spaces.
In Moscow, in a historic building located behind the new Arbat in the city centre, a gradual renovation is underway. In addition to the architectural reconstruction designed by Mányi Studio, a new library and an upper-floor reception area are being built, along with a new exhibition space. Further reconstruction of the building will proceed gradually, with the interior spaces, the grand staircase, the auditorium, and the offices currently under development.
Over the years, the form creation has become increasingly sophisticated, which today can be said to be a characteristic feature of István Szenes' design style: painterly quality, colour harmony, subtle balancing of contrasts, incorporation of the most sophisticated materials, use of lighting technology as a tool. All this is expressed in the engineering and acoustics as an orchestral work composed on the elements of a well-functioning space. Elegant and conservative in his taste, his design work, which strives for both spaciousness and intimacy in the way he creates space, and which reflects the contemporary spirit in his use of clay, will hopefully have a longer-term value, although in one of his lectures Szenes describes interior design as a kind of fashion practice that always changes with the times.
About education
István Szenes' opinion is counted on in professional critiques and in the most important forums of public art life, as well as among his students. István Szenes has taught at the Department of Residential Building Design at the Budapest University of Technology since 1986. One can imagine how vividly he can pass on his knowledge when, in 2003, Rector Ákos Detrekői awarded him the title of "Honorary Professor of the Faculty of Architecture of the BME". The ceremony was attended by a good number of his colleagues and students, of course, contradicting one of his remarks quoted below:
"There isn’t really a strong connection between the older generation and the young. I would very much like it to be closer. I am certain that the same feeling works in all of us – my generation, those in their ‘50s today – wanting to feel more connected with the young. And I also hope that the younger generation would have a greater desire to draw out the knowledge and network of connections that we possess."
He was similarly honoured by the German language group at BME and was awarded a new distinction in 2005. He was invited to be a professional consultant for one of the German students who participated in the scientific student conference of the Faculty of Economics and Social Sciences of the BMGE in 2004/2005. In addition to the honorary degrees, he was also asked to write and review major projects, such as the Oceanarium of the Zoo in Nyíregyháza-Sóstó [SóstóZoo], created by architect Attila Gáva and his team of designers.
[2012]