INTRODUCTION
Much has already been written about Antal Lázár. The number of articles, reviews, and laudations has grown especially in recent years, due in no small part to the fact that the architect – recipient of the Kossuth Prize, the Ybl Miklós Prize, and the Pro Architectura Prize – was awarded the title Artist of the Nation in 2024. It can be confidently stated that this latter distinction, the highest honour granted in the field of contemporary arts in Hungary, recognized not only the person of Antal Lázár but also the architectural culture of which he was not merely a participant, but an active shaper throughout his long and prolific career.
A long career, by its very nature, spans multiple eras – successive periods that may even enter into conflict with one another in the form of thesis and antithesis. This is true even in consolidated social conditions, but it is particularly so in the East-Central European region, to which Hungary belongs, where social, political, and economic development has not followed a linear trajectory. Rather, for centuries it has been shaped by the rapid succession of organically unconnected periods layered upon one another, determining the pace and direction of a development marked by detours.
THE DECADES OF FORMATION (1941–1966)
Antal Lázár was born on September 30, 1941, in Győr. His early career orientation may have been decisively influenced by the personal example of his father, János Lázár (1907–1997), who worked as a master builder before the Second World War. His private enterprise, however, was nationalized in 1948 in accordance with the policies of the new political regime. After the family moved to Budapest, he continued practicing his profession at Lakóterv, in the circle of József Körner (together they designed the József Attila County Library in Tatabánya, inaugurated in 1965).
After completing his secondary studies at the Ybl Miklós Technical Secondary School of Building Industry in Budapest (Thököly Road 74), Lázár continued his education at the Faculty of Architecture of the Budapest University of Technology, where he obtained his degree in architecture in 1966.
Thus began one of the longest, most multifaceted, and most colourful architectural careers spanning approximately two generations – from the final third of the twentieth century into the first quarter of the twenty-first.
Long, because it is rare for someone to remain at the forefront of their chosen profession for six decades.
Multifaceted, because he achieved lasting results in several autonomous fields: architectural design; professional and public engagement; and education, educational organization, and strategic planning – these three autonomous spheres of activity form parts of a larger whole, each of them in itself demanding the full dedication of an individual within architecture as a discipline capable of shaping society.
Colourful, because in each of these areas we may speak of a career and personal contribution that transcends eras and trends.
In discussing and evaluating his oeuvre, it is worthwhile to follow this generational segmentation. The reason is that his career is closely linked to historically well-defined periods and events, both in architecture and in broader social movements. This segmentation can also be identified – unsurprisingly – through changes in architectural trends and through the responses to these changes within his body of work.
THE FIRST PERIOD (1966–1989)
Immediately after graduating from university, Lázár joined IPARTERV, working in the studio of Lajos Földesi. Soon thereafter, a decisive turn in his career occurred: alongside Zoltán Gulyás and Jenő Rimanóczy, he participated in the construction design of the epoch-making Budapest Sports Hall, working in a small emerging group together with Péter Reimholz and Dénes Patonai.
Between 1970 and 1972, following a long enforced hiatus, he became a student in the legendary first cycle of the re-launched MÉSZ Master School. Among his fellow students were architects who would define subsequent decades (Janáky, Patonai, Reimholz, Gereben, Csomay). His mentor – both here and earlier at IPARTERV – was one of the outstanding architectural personalities of the era, Zoltán Gulyás.
After successfully completing the Master School, he was soon appointed chief designer within the company, opening the way for rapid advancement on the professional ladder and accelerating his access to independent commissions. His work – then as now – was characterized by precision and clarity of composition. His discipline, determination, and the attention of Jenő Szendrői quickly elevated him to leadership: from 1977, he became head of Department A at IPARTERV.
By the 1980s, IPARTERV’s assignments had changed, and Lázár carried out numerous building reconstructions.
In 1985, Department A separated from IPARTERV to form a new company under the name MATERV, with Antal Lázár as its first director.
The IPARTERV/MATERV period (1966–1989) coincided with the decades of socialist consolidation and gradual disintegration. Throughout its existence, the large state design enterprise became perhaps the most important bastion of progressive Hungarian architecture, open to industrial-technological and architectural-structural innovation. Lázár’s buildings from this period faithfully reflect this spirit: the Domus department stores in Budapest’s 13th district and in Székesfehérvár follow the late modern (brutalist?) trends of the 1960s and 1970s, while the Waste Incineration Plant in Budapest’s 14th district – conceived in the spirit of the then-emerging Western high-tech movement – represents the progressive line of the 1980s.
Major realized works of the period include the Budapest DOMUS Department Store (with Péter Reimholz, 1974); the Székesfehérvár DOMUS Department Store (with Péter Reimholz, 1975); the Rákospalota Waste Utilization Plant (1978–81); the reconstruction of the Hullám Hotel in Keszthely (1982); and the reconstruction of the OTP Headquarters on Nádor Street (1985).
The series of professional recognitions and awards associated with his creative activity during this period begins with the Ybl Miklós Prize, awarded to him at a young age (for the design of the Domus department store in Budapest, 1975), followed by the 1986 Europe Prize for Industrial Architecture at Constructa in Hannover for the design of the Rákospalota Waste-to-Energy Plant (1986), which was also presented to the German professional public and was acknowledged with appreciation by the contemporary West German professional press as an example of progressive Hungarian industrial architecture, and concludes with the Ferenc Reitter Prize awarded in 1989, which he received from the Council of the Capital in recognition of his high-level contribution to the shaping and development of Budapest’s built environment.
His publishing activity also intensified. His articles appeared in Hungarian professional journals, and he participated in the Hannover-Messe Constructa 1986 exhibition in the Federal Republic of Germany, where he presented the building of the Rákospalota Waste-to-Energy Plant to great professional acclaim.
His role in Hungarian higher education in architecture reached its full development when, in 1986, he gave up his leadership of MATERV and, leaving his position as director, took up a post at the Faculty of Architecture of the Budapest University of Technology (BME). Two years later, in 1988, through a competitive application process, he won the position announced for the headship of the Department of Industrial and Agricultural Building Design, and succeeding Miklós Harasta, he assumed leadership of the Department for long and productive decades. As a university professor, over the following eighteen years he served as head of the Department and became an active shaper of its profile.
The scope of his professional public activity, as well as his work in professional policy and professional diplomacy, also expanded. He participated increasingly actively in professional public life and served as Secretary General of the Association of Hungarian Architects (MÉSZ) between 1981 and 1991.
From the above it is clearly evident that during the often contradiction-laden period of the intermediate decades of the second half of the twentieth century (1966–1989) – that is, in the period between the architectural renewal made possible by the easing brought about by Kádár’s consolidation and the unfolding of the New Economic Mechanism, and the crisis and vacuum preceding the change of regime – Antal Lázár became an important and indispensable figure in the professional and public life of his time.
THE SECOND PERIOD (1990–2025)
The second phase of his career rests on two key pillars.
The first is connected to the Budapest University of Technology and Economics. His role in Hungarian higher architectural education reached full maturity in 1988, when – through an open competition – he was appointed Head of the Department of Industrial and Agricultural Building Design at the Faculty of Architecture, succeeding Miklós Harasta. He led the Department for long and productive decades, until 2006. From 1996 he was a member of the Faculty’s Master Board (Mestertestület), and in 1997 he was among the first to be awarded the DLA (Doctor of Liberal Arts) degree by the University’s Rector’s Council.
There was no pause in his academic ascent: his university career reached its zenith when he was elected Dean of the Faculty of Architecture for the period 2002–2006.
Of pioneering importance in Hungarian doctoral education was the University’s acceptance of an art-oriented program placing strong emphasis on architectural creation, which from 1996 defined itself as an independent DLA program. After lengthy and thorough preparations, during Lázár’s deanship the accredited Doctoral School of Architecture (Építőművészeti Doktori Iskola) was launched in its current form in 2002 under the leadership of DLA Professor József Kerényi. His term as Dean also coincided with the Faculty’s preparation for the Bologna Process, undertaken in a spirit of strategic planning and accompanied by the renewal, updating, and restructuring of the educational program.
Between 1999 and 2003, within the framework of the Széchenyi István Professorial Scholarship, he was able to deepen his course-development activities and introduced an independent subject titled “Architecture of Workplaces” into the regular curriculum. This process also included the creation of two additional elective courses: “Architectural Aspects of Horse Keeping” and “Architecture and Professional Practice.”
From 2011 until his retirement, he supported the work of his Department and Faculty as Professor Emeritus.
During his long academic career, through his regular lecture series “Industrial Building Design” and later “Architecture of Workplaces,” he transmitted both theoretical knowledge and its practical applications; through the courses “Comprehensive Design 1 and 2” and “Diploma Design,” he provided practical design instruction; and through the elective subjects “Architecture and Professional Practice” (1989–2000) and “Architectural Aspects of Horse Keeping” (2010–2021), he offered general contemporary and specialized theoretical knowledge to his students. As Head of Department, he participated in and played a decisive role in countless diploma defenses. Thanks to his work, hundreds of architecture students obtained their degrees and became young professional colleagues – many of whom have since assumed leading positions in the field and pursued significant architectural careers.
The second key pillar of this period was that – sensing the challenges of the new era, but also the opportunities inherent in them – Antal Lázár founded A&D Studio Inc. in 1990 together with Ernő Rubik and the Swiss architects Rolf Kyburz and Thomas Lázár. Following a tragic event affecting the ownership structure and its direct consequences, the firm’s legal successor, A&D Studio Ltd., was established in 1998. From the outset, Lázár served not only as managing director of both companies but also as lead designer of major projects and author – often winner – of important architectural competitions.
A decisive role in launching the company was played by its strong and highly successful activity in architectural competitions. Among these, the most significant were those connected to the planned Vienna–Budapest World Exposition in Budapest’s 11th district, in the so-called Lágymányos Campus area, which soon brought early success, recognition, and professional acclaim to the newly founded and ambitious firm. These included: “Development of the South Budapest Urban Center for EXPO ’95” (site designation competition, with Dr. Béla Nagy, 1989–90, Second Prize); “EXPO ’95 Vienna–Budapest World Exhibition Plan” (international invited competition, 1992–93, Second Prize, in cooperation with the Richard Rogers Partnership and Ove Arup & Partners); “Design of ELTE University Buildings in the EXPO Area” (with Dr. Péter Magyar, 1993, Third Prize); “Design of the EXPO Pedestrian Bridge over the Danube” (with Dr. Péter Magyar, 1993, Fourth Prize); and finally the genuine breakthrough: “University Sports and Cultural Center for Pre-EXPO Utilization” (with Dr. Péter Magyar, 1993, shared First Prize).
To this series belongs the design awarded Second Prize in the 1998 National Architectural Competition for the new National Theatre at Erzsébet Square in downtown Budapest, a joint entry by A&D Studio and Építész Stúdió (co-authors: Ferenc Cságoly, Ferenc Keller, Sándor Pálfy). Beyond its architectural merits, the project attracted attention for its highly refined graphic presentation and set a model for the increasingly autonomous discipline of architectural representation.
Another important milestone was the shared First Prize awarded in 1995 (with Zoltán Szécsi) for the open national competition for the reconstruction and extension of the Eötvös Károly County Library in Veszprém. The Lázár–Szécsi partnership achieved further successes between 1995 and 2000, including: the Gödöllő University Library and Agricultural Information Center (1997, First Prize); the Gödöllő City Library (2000, Second Prize); the reconstruction and extension of the Illyés Gyula County Library and Archives in Szekszárd (2000, First Prize); and the Sports and Conference Center on Petőfi Island in Baja (2001, First Prize).
These successful competition results brought A&D Studio commissions of significant prestige and scale. Together with the firm’s increasingly active market presence, they led to the realization of important public buildings, reconstructions, and interior-focused transformations of the period, under the lead design direction of Antal Lázár, often in collaboration with equal creative partners.
Major realized projects of the era include: the trading hall of the Budapest Stock Exchange in a sensitive historic environment (1992); the reconstruction of the Supreme Court (1993); the new SPAR supermarket building in Kecskemét (1996); the University Sports Center (Tüske Hall, lit: Spike Hall ) in Budapest’s 11th district (with Péter Magyar, 1998); the Siemens Office Building in Budapest (with Péter Reimholz, 1998–2000); the reconstruction and extension of the Veszprém County Library (with Zoltán Szécsi, 1999–2000); the Volánbusz Bus Terminal in Budapest’s 9th district (2002); the new campus of the Hungarian Dance Academy in Rákospalota (with Veronika Lázár, 2002); the new flue gas treatment plant building of the Budapest Waste Utilization Facility (2004); the new Ferencváros campus of Corvinus University (with László Szerdahelyi and Dr. Zoltán Oláh, 2007); the BME Q1 building on the Lágymányos campus (2008); and the adjacent BME Q2 building, Research Center of the Hungarian Academy of Sciences (with István Kaszás, 2013).
A&D Studio was conceived in the turbulent years of the political transition, followed by a short period of consolidation, Hungary’s accession to the European Union (1990–2004), renewed consolidation, the COVID lockdown, and the post-COVID years (2005–2025). Throughout its existence, the firm remained resilient and consistently occupied a leading position among Hungarian architectural firms.
Its works incorporated romantic and organic postmodern tendencies as well as high-tech architecture sensitive to technical solutions – striking examples being the Veszprém Library complex and the Tüske Hall with its underground sports facilities. In later buildings, however, a style-transcending attitude became increasingly dominant, although postmodern and mildly technicist overtones occasionally continued to appear. From the mid-2000s onward, a kind of “free associative architecture” characterized the Studio’s work – free from isms and mannered neo-modern or minimalist gestures – while consistently upholding the imperative of coherent and generous form-making, striving toward a distinctive synthesis.
The second phase of his career was likewise accompanied by significant professional achievements. In 1996 he received the House of the Year Award. In 1999 he was awarded the Budapest Architectural Excellence Award, followed in 2000 by the Figyelő Architectural Prize (both for the Siemens Office Building). In 2001 he received the prestigious Pro Architectura Prize for the reconstruction of the Eötvös Károly County Library in Veszprém. The year 2005 crowned his career with the Kossuth Prize, recognizing his outstanding architectural design activity and educational achievements. The list of distinctions was further expanded in 2012, when he received the Prima Prize in the category of Hungarian Architecture and Building Arts. In 2024 he was awarded the highest recognition for a complete oeuvre, the title Artist of the Nation.
In the decades following the political transition, publication activity and expectations regarding scholarly output increased explosively. Indeed, in certain fields – such as university appointments and professional performance evaluations, accompanied by the establishment of various academic databases, including the Hungarian Science Bibliography (MTMT) – publication became an explicit professional expectation. This trend is clearly reflected in the publications connected to Antal Lázár – both those he authored and those written about him by colleagues in professional journals and other public forums. Edited by István Kistelegdi, he published an independent chapter in the representative volume Könyv az építészetről (Book on Architecture, JPTE University Press, Pécs, 1998). As editor and co-author, he published the textbook Munkahelyek építészete (Architecture of Workplaces, B+V Publishing, 2000). He wrote the introductory study for the volume Zsolnay (Corvina, 2003). As editor and co-author with Alíz Della Donna and Vilmos Lázár, he published Ló és építészet (Horse and Architecture, Műegyetemi Kiadó, Hungarian Equestrian Federation, Hungarian Academy of Arts, A&V Studio BT., 2017). Together with Péter Magyar, he authored the illustrated documentary volume Making Evergreen Architecture (LitFire, Atlanta, 2016) on the creation of the Tüske Hall and Swimming Pool. Finally, the comprehensive monograph Jelek a térben. Lázár Antal építészete – The Architecture of Antal Lázár, Corvina, 2019, With English summary and list of works), written by Judit N. Kósa, Melinda Mártonffy, and Teodóra Hübner, summarizes his life’s work.
Exhibitions, public appearances, and inaugural lectures likewise accompanied this second phase of his career, as natural consequences of the transformation of professional public life. Vienna, Stuttgart, Tokyo, Berlin, and Beijing were significant stations. Another important milestone was São Paulo, Brazil, where at the group exhibition “General Exhibitions of Architects” (1999) he presented the reconstruction of the Eötvös Károly County Library. In Budapest, he participated in the group exhibition “The Present and Future of Our Architecture – Masters and Disciples” in the Dome Hall of Buda Castle Palace (2004), and held an exhibition at the N&n Gallery (District VI) in 2008, presenting his own works alongside those of friends and colleagues.
The renowned Budapest exhibition venue FUGA – Budapest Center of Architecture also paid tribute to him: on June 12, 2019, at the invitation of the Széchenyi Academy of Literature and Arts, he delivered his inaugural lecture combined with an exhibition and book presentation; in 2025, a solo retrospective exhibition of his design practice was organized there under the title “From Iparterv to FUGA.” On November 18, 2025, at the Pesti Vigadó, headquarters of the Hungarian Academy of Arts, he delivered his inaugural address titled “My Personal Memories, Especially of IPARTERV,” as a laureate of the title Artist of the Nation.
As part of his professional public engagement (professional policy and diplomacy), between 1995 and 1998 he took part in the organizational renewal of the profession. The new era required new organizational and operational forms: regional and national chambers were established. He was among the first members of the Budapest Chamber of Architects, with chief designer qualification, and between 1996 and 1998 served as Vice President of the Hungarian Chamber and Association of Architects. From 2000 to 2003 he was Chair of the Architectural College of the National Cultural Fund. Since 2000 he has been a member of the Hungarian Academy of Engineering. Between 2009 and 2010 he served on the Kossuth Prize Committee. From 2019 he has been a member of the Széchenyi Academy of Literature and Arts, and from 2025 a full member of the Hungarian Academy of Arts.
SUMMARY
Around the turn of the millennium, the contemporary postmodern American composer John Adams (1947–) gave a somewhat unusual title to one of his large-scale orchestral works: My Father Knew Charles Ives. Paradoxically, the acquaintance was purely fictional! The two never actually met, although – being contemporaries and compatriots, and given their shared musical interests and similar civic engagement beyond music – they might indeed have encountered one another… The title of the composition thus signals much more a kind of intellectual alignment in values and a strong attachment rooted in tradition, which the composer sought to declare in his work as a kind of summation of his own life experience. As if it were in fact important for him to build a bridge to the great predecessor whom he so deeply admired.
Ancestors and their descendants. Fathers and sons. Masters and disciples. Old and young. Tradition and renewal. Heritage and innovation. The old and the new. Timelessness and contemporaneity (“modernity”). The ancient and the avant-garde.
This simple yet highly dynamic linearity is not only one of the firmest cornerstones of our civilization, but also the driving force of all human activity. It is an emotional bond which, as long as it exists, keeps hope alive with it – hope capable of transmitting (and preserving) all that it carries forward…
We knew – and we know – Antal Lázár! Countless shared experiences and memories bind us to him. Through this bond we have learned much about architecture, professional culture, and ethos. About thoroughness, circumspection, dedication to causes, perseverance. And this also places a responsibility upon us: to ensure that we have something to pass on to the generations that follow!
Among the publications about him, outstanding is the comprehensive, exceptionally demanding and high-quality monograph published in 2019 under the title Signs in Space. The Architecture of Antal Lázár by Corvina Kiado (the work of Judit N. Kósa, Melinda Mártonffy and Teodóra Hübner), as well as his most recent retrospective exhibition held in 2025 at FUGA Budapest Center of Architecture under the title From Iparterv to FUGA (curated by art historian Zoltán Fehérvári). Through them we have gained a comprehensive insight into the career of a colorful creative personality and a deeper view into the thoughts of the author of epoch-making buildings – another “grand Old Master” – perhaps in a way not previously possible.
The moment of almost revelatory power within the collected materials included in these two publications is the collection of Lázár’s own drawings. We have known these drawings for decades, yet gathered together and presented as a bouquet they strike us with the force of novelty. Through them we gain access to the innermost depths of a restless, constructive mind at work. They have lost none of their validity, freshness, or dynamism. Indeed, it is as though in the meantime they have become timeless!
It is also worth noting the remarkable professional-historical trajectory that these collected materials so vividly illustrate. Freehand drawings: technical drawings, artistically ambitious perspective renderings (including István Balogh’s watercolors). Computer graphics: technical drawings and visualizations, from the early “rudimentary” examples (University Sports Center design competition) to professionally accomplished artistic works (New National Theatre design competition). And the models: from every period, from simple to complex, from working models to professional presentation models (Diploma project, Domus department store, Ambulance Station in Szolnok). This treasury of architectural representation succinctly summarizes the full professional spectrum of the last decades of the twentieth century and the first quarter of the new millennium in this field as well, and serves as an invaluable historical document for posterity.
Antal Lázár is a witness to great times and an acquaintance of great personalities. One of the last living witnesses of the architectural recent past of the twentieth century. He knew the grand Old Masters: Frank Lloyd Wright, Ludwig Mies van der Rohe, Alvar Aalto, Marcel Breuer. And he knew Gulyás, Kós, Makovecz, Földesi, Vadász, Jánossy, Zalaváry, Szendrői – Hungary’s own great elders as well… He knew everyone, just as, as his practice advanced, gradually everyone in the profession came to know him. We not only came to know him, but many of us entered into creative collaboration with him: Péter Reimholz, Dénes Patonai, Ferenc Cságoly, Sándor Pálfy, Ferenc Keller, Péter Magyar. Or we may also mention Richard Rogers and the unnamed collaborators of Ove Arup & Partners, with whom they prepared the plans for the Budapest EXPO site selection competition. Or members of the younger generation who matured into architects under his wings: László Rajk, Gyula Gyalay Korpos, György Stocker, Zoltán Sükösd, Zsolt Vasáros. Lists – without any claim to completeness…
His architectural awakening is linked to the worldwide flourishing of the Modern movement. To that era whose designation international professional literature still struggles with today. It is referred to as the “International Style,” but we also encounter the terms late modern, and increasingly the nowadays fashionable, though rather superficial and sweeping, label of “brutalism.” In the countries of the former Eastern Bloc, the term socialist modernism is also common. However we may call it, it is tied to the decades of the 1960s and 1970s, which – according to the emerging professional consensus – were the Golden Age of both twentieth-century universal and Hungarian architecture alike. And as such, according to the canon of architectural history, it proved to be a good school, for it produced a series of outstanding architectural creators both at home and abroad. At the same time, it is paradoxical that the culturally rich buildings of this period once again stand in the crossfire of renewed attacks by uncomprehending laypeople and unprepared decision-makers. Indeed, the surviving representatives of the period’s architectural heritage face a reinvigorated destructive zeal day by day.
His buildings – at once rational and yet imbued with strong emotion – are difficult to associate with any single defined movement. The late modern/brutalist tone of the Domus department stores was a pioneering domestic manifestation of the style. Another pioneering attempt can be seen in the vertical glass hall of the first phase of the Budapest Waste Incineration Plant, conceived in the spirit of the then-current Western high-tech trend, which also brought him his first serious international recognition (at that time quite a rarity on this side of the Iron Curtain!). The symbiosis of the County Library in Veszprém within the force field of an eclectic building ensemble and the city park. The Tüske Hall’s mass, at once sentimentally romantic yet also fitting into a distinctive organic lineage, or the swan song of the Lázár–Reimholz authorial duo, the constructivist modernity of the Siemens office building seeking dialogue with the neighboring building designed by Nyíri–Lauber. The rawness of the Népliget bus terminal blended with postmodern details. All present before our eyes the personality of a creator with an individual vision. The list, naturally, remains incomplete…
Attention always characterized Antal Lázár’s work. Attention to the vibrations of the spirit of the age, to professional trends, under the sign of an a priori contemporaneity. This is, in essence, the attitude of modernity in the strictest sense of the word, which at all times, in every task and every challenge, seeks to hear the voice of its era, looks for the possibility of expressing the spirit of the age in its responses, and operates in its solutions with the tools and conceptual framework of its time.
Yet in Lázár’s case this trend-following attitude never amounted to simple imitation; Rather, it was driven by a desire for currency, openness, curiosity, and understanding. Every new impulse passed through the particular filter of his own analysis and interpretation, moving from a general understanding of a situation toward a singular architectural solution. This attentiveness was not limited to observing the visible and tangible events of a given era. It extends to his contemporaries and fellow creators, just as it extends to tradition. It becomes a receptive openness, ready for dialogue and shared thinking. It is not difficult to recognise, in the daring sequence of domes crowning the unusual mass of the Tüske Hall – domes that deliberately push the limits –the inspirational influence of the form, massing, and dramaturgy of Imre Makovecz's Hungarian Pavilion in Seville. Emotional organic versus emotional high-tech. The authenticity of both is unquestionable, just as their relevance is indisputable – in their own place and in their own time.
His career is multicolored like a rainbow. With primary colors and their complements, it arches unbroken across eras. The image could even be romantic. That it is not is due to the disciplining force of strict rationality always at work in the background, protecting the process of thought from self-serving excess: his works do not become stage sets, do not fall into role confusion, do not ideologize, do not aestheticize, nor do they dictate. Quietly they test the limits, sometimes imperceptibly breaking through them. They build a bridge between present and future. His creative approach is always colourful and full of emotion. Emotionally rationalist and structuralist, emotionally postmodern, emotionally oriented toward High-Tech. Yet always controlled, never extreme. And perhaps it is precisely this duality that makes it so distinctly Hungarian.
[2025]