The design for the Hungarian House of music takes its shape from a drawing by Paul Klee entitled Four- Voice Polyphony. This modern artist was born a musician and then became a painter, perhaps out of shyness, and continued to interlace visions and experiences, eventually theorising pictorial figurative polyphony as a reference to dynamic acoustic balances, in an action of radical rethinking of the meaning of forms that seeks unstable arrangements and continuous balancing. The project was inspired by a drawing by Klee, which connects soft shapes following a varied and coordinated sequence of sounds. The form suggested by this visual matrix is in harmony with the garden in which it is set and with the large park. We then imagined that the entire exhibition level would be housed in a raised suspended platform with this outline. Here the permanent exhibition is divided into two parts: the purely museum-like part and the sound experience, with three acoustic eggs that lead, in sequence, to elimination of the auditory experience (anechoic egg), then the recovery of selected sounds (sound egg) and finally the possibility of appreciating a musical sequence (rhythm egg). On the ground floor, public services related to initiatives open to all (reception, hospitality, refreshments) run alongside the event hall and the children’s museum. Between these functional cores, a series of glazed openings allow general accessibility from every point in the garden, while the main entrance looks onto the new pedestrian axis designed on the overall masterplan. The main lobby is a large double-height space overlooked by a long balcony connecting the exhibition spaces. In the void, large circular skylights draw down natural light. Other circular volumes also descend to characterise the entrance area with large acoustic chandeliers, marked on the floor by coloured carpeted bubbles designed to dampen sound.
Liget Budapest
Budapest, 2014
with Vera Busutti BScape
