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SHED in Hungary
SHED in Hungary
Nagybajom, Hungary
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Other Projects by NARTARCHITECTS
SHED in Hungary
Nagybajom, Hungary
Firm
YEAR
2012
SIZE
1000 sqft - 3000 sqft
BUDGET
$0 - 10K
CATEGORY: XXS architectureARCHIRECTS: NARTARCHITECTS / Csaba Kovács architect, Áron Vass-Eysen architect
TEXT: Tamara Poós architect
TRANSLATION: Zoltán Lengyel
PHOTOGRAPHS: Csaba Kovács, Áron Vass-Eysen, Tamara PoósOn the Pretext
of a Shed
Childhood. A huge shed, the size of a church.
Heat outside.
Gentle breeze inside.
Outside the buzzing of bugs and insects.
Blinded by the outer sunlight you can hardly see the
outlines of straw bales, objects, machines.
In the dim there are things you can see and there are
things you cannot.
Sounds are far away.
Everything seems unreal in the light sneaking in
through the rifts.
Dust is flitting in the air.
The sun sheds light on the specks of dust.
The inner space is parceled by dust and light.
You might pass through them into another particle of
space.
Or I might reach with my hand into another dimension.
Sometimes I am blinded by the light sneaking in
through the rifts.
It is not even necessary to twinkle in order to
perceive more intensive light; dots and lines are blurred anyway.
As I peek through the rifts I can see my grandmother
passing through the yard.
Each rift contains another phase of the movement.
In between there are boards turning grey.
It is forbidden to climb on the straw bales: my
grandfather doesn’t want us to play inside.
We are here in secrecy.
Then I open the door and the sun floods in fading out
everything.
I step out into the blinding summer.
Nagybajom, Hungary, Csányi Foundation.
I give them
a call in advance that I wish to see the house. Szilvia Némethné receives me
with a smile. She shows me around inside the building of the foundation. I tell
her that I am interested in the small house.
A wondering
countenance, a half smile… Really?
Yes, the
shed. Without further questions she smiles; she is very kind and helpful as she
tells me that I can meet the children in the afternoon, too. Around the shed I
take a hump of pictures; I relive feelings and perceptions described above.
I meet boys
about fourteen years old in the afternoon: Laci Hajdú, Laci Fehér, Attila
Sipos.
Let’s go
outside and have a look at the little house! A slight hesitation, questioning
looks at each other… is it serious?? Well, all right…
While going
outside they tell me about their occupations, possibilities, studies. There is
drama studies, too, individual work; suiting the talent of each of them. Soon
they are going to do their language exams. And what is the use of the shed?
Well, they have put in the snow-tyre, there are plastic bottles in bags and
firewood also. Pardon the mess.
I ask them
whether they had played in the shed as a little boy. They answer with a huge
smile, no question, even now!
And we look
at the lights together as they blur. We lurk outside. I point it out how clever
the structure is. Really! Otherwise the upper ledger would be head high, we
would beat our heads into it; and in this way it works well as storage also.
I mention
them that the young architect whose task was to plan this shed was eager to do
this right, however small the task was. Architects, both young and experienced,
wished to do a good job out of enthusiasm.
The boys
pat the splay ledgers and the boards with pride. The shed is theirs.
closed the
door should be unnoticeable, and all that adds up to a homogeneous whole. It
While
working in Nart I could have paid
attention to the realization of this little building right out from the
planning phase. I could have felt the fight against crisis; yes, we build sheds
out of virtue! I could have felt the enthusiasm for the brutally drilled,
beautiful and genial wooden buildings of Yuri Grigoryan. I am aware of the
restrictions: the maximum size of ten square meters, and that it should be a
separate garden building. The aim is to be as cheap as possible. Let it be
built from simple hairy board. Let it be constructed in modules. We need not
cut it by its length, the rifts help equipartition. The splay of the roof
should be identical with that of the main building. I could have seen the
meticulous work with the joints, the exactitude that defines the pry of the
door in order to have everything suitable and pliable to each other; when should
be constructed in a way that you can stand under and in it; no object should
intrude into the inner space.
What else
is necessary besides what I have listed above? A lot of work and humility which
results in a natural and self-evident form and reshapes the details into their
simplicity.
Above this
what makes this house so self-evident? And I wonder what the user can feel from
this endeavor, if at all? What is the impact of the building on its “users”,
the laymen without the knowledge of ideologies, architectural prototypes,
philosophies, portfolios and architectural forums? Can we architects “use”
this? What is the influence of tradition? What subsides in one in the form of
feelings, long-term thoughts, seeds, memories? Especially in children. Do they
value what they have? What is the influence of the lack of tradition? What if
this is simply a created tradition with tale-telling elements? How can we evoke
common visual memories? How can we make them to be not too spoonfed, not too
made-up Hungarian?
Here in
Nagybajom it was enough to spell out a sentence and we already arrived at
sharable memories about the shed with these no longer children, not yet adult
youngsters. How do these memories disappear? Why do we long for other things?
How can we preserve the respect for our own childhood as well as the respect
for the sharable childhood? How can we preserve the experience and ability of
losing ourselves into the observation of light hasps?
Maybe with
the help of a visual “Kodály Method” that has an impact and provides experience
for everyone? Instead of a teddy bear made of polystyrene-balls, painted with
tempera.
Let’s get
back to the house.
It is
self-evident. It speaks in a modest way. No need to talk down others. It lacks
visible strain. It is as it should be. Inside (its being) it is much more than
itself. Behaviour, character. temperance, curiosity, common sense, economy and
function, creative thought, feeling. Tradition and conscious architecture.
Fine
poetry.
Answers all
my questions.
Tamara Poós
TEXT: Tamara Poós architect
TRANSLATION: Zoltán Lengyel
PHOTOGRAPHS: Csaba Kovács, Áron Vass-Eysen, Tamara PoósOn the Pretext
of a Shed
Childhood. A huge shed, the size of a church.
Heat outside.
Gentle breeze inside.
Outside the buzzing of bugs and insects.
Blinded by the outer sunlight you can hardly see the
outlines of straw bales, objects, machines.
In the dim there are things you can see and there are
things you cannot.
Sounds are far away.
Everything seems unreal in the light sneaking in
through the rifts.
Dust is flitting in the air.
The sun sheds light on the specks of dust.
The inner space is parceled by dust and light.
You might pass through them into another particle of
space.
Or I might reach with my hand into another dimension.
Sometimes I am blinded by the light sneaking in
through the rifts.
It is not even necessary to twinkle in order to
perceive more intensive light; dots and lines are blurred anyway.
As I peek through the rifts I can see my grandmother
passing through the yard.
Each rift contains another phase of the movement.
In between there are boards turning grey.
It is forbidden to climb on the straw bales: my
grandfather doesn’t want us to play inside.
We are here in secrecy.
Then I open the door and the sun floods in fading out
everything.
I step out into the blinding summer.
Nagybajom, Hungary, Csányi Foundation.
I give them
a call in advance that I wish to see the house. Szilvia Némethné receives me
with a smile. She shows me around inside the building of the foundation. I tell
her that I am interested in the small house.
A wondering
countenance, a half smile… Really?
Yes, the
shed. Without further questions she smiles; she is very kind and helpful as she
tells me that I can meet the children in the afternoon, too. Around the shed I
take a hump of pictures; I relive feelings and perceptions described above.
I meet boys
about fourteen years old in the afternoon: Laci Hajdú, Laci Fehér, Attila
Sipos.
Let’s go
outside and have a look at the little house! A slight hesitation, questioning
looks at each other… is it serious?? Well, all right…
While going
outside they tell me about their occupations, possibilities, studies. There is
drama studies, too, individual work; suiting the talent of each of them. Soon
they are going to do their language exams. And what is the use of the shed?
Well, they have put in the snow-tyre, there are plastic bottles in bags and
firewood also. Pardon the mess.
I ask them
whether they had played in the shed as a little boy. They answer with a huge
smile, no question, even now!
And we look
at the lights together as they blur. We lurk outside. I point it out how clever
the structure is. Really! Otherwise the upper ledger would be head high, we
would beat our heads into it; and in this way it works well as storage also.
I mention
them that the young architect whose task was to plan this shed was eager to do
this right, however small the task was. Architects, both young and experienced,
wished to do a good job out of enthusiasm.
The boys
pat the splay ledgers and the boards with pride. The shed is theirs.
closed the
door should be unnoticeable, and all that adds up to a homogeneous whole. It
While
working in Nart I could have paid
attention to the realization of this little building right out from the
planning phase. I could have felt the fight against crisis; yes, we build sheds
out of virtue! I could have felt the enthusiasm for the brutally drilled,
beautiful and genial wooden buildings of Yuri Grigoryan. I am aware of the
restrictions: the maximum size of ten square meters, and that it should be a
separate garden building. The aim is to be as cheap as possible. Let it be
built from simple hairy board. Let it be constructed in modules. We need not
cut it by its length, the rifts help equipartition. The splay of the roof
should be identical with that of the main building. I could have seen the
meticulous work with the joints, the exactitude that defines the pry of the
door in order to have everything suitable and pliable to each other; when should
be constructed in a way that you can stand under and in it; no object should
intrude into the inner space.
What else
is necessary besides what I have listed above? A lot of work and humility which
results in a natural and self-evident form and reshapes the details into their
simplicity.
Above this
what makes this house so self-evident? And I wonder what the user can feel from
this endeavor, if at all? What is the impact of the building on its “users”,
the laymen without the knowledge of ideologies, architectural prototypes,
philosophies, portfolios and architectural forums? Can we architects “use”
this? What is the influence of tradition? What subsides in one in the form of
feelings, long-term thoughts, seeds, memories? Especially in children. Do they
value what they have? What is the influence of the lack of tradition? What if
this is simply a created tradition with tale-telling elements? How can we evoke
common visual memories? How can we make them to be not too spoonfed, not too
made-up Hungarian?
Here in
Nagybajom it was enough to spell out a sentence and we already arrived at
sharable memories about the shed with these no longer children, not yet adult
youngsters. How do these memories disappear? Why do we long for other things?
How can we preserve the respect for our own childhood as well as the respect
for the sharable childhood? How can we preserve the experience and ability of
losing ourselves into the observation of light hasps?
Maybe with
the help of a visual “Kodály Method” that has an impact and provides experience
for everyone? Instead of a teddy bear made of polystyrene-balls, painted with
tempera.
Let’s get
back to the house.
It is
self-evident. It speaks in a modest way. No need to talk down others. It lacks
visible strain. It is as it should be. Inside (its being) it is much more than
itself. Behaviour, character. temperance, curiosity, common sense, economy and
function, creative thought, feeling. Tradition and conscious architecture.
Fine
poetry.
Answers all
my questions.
Tamara Poós
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