© Tamas Bujnovszky

(Tamas Bujnovszky)

架构师提供的文本描述。在布达佩斯东北部的办公走廊上有一个特殊的地方：正交城市组织中的一个十字路口。因此，与拐角处的其他建筑物相比，建筑质量下降了。这可以解释为后院的情况，它通过十字路口的弯道进入中心位置。在这个地方，来自城市组织不规则性的焦点必须通过设计一个自由形状的建筑来创造。

Text description provided by the architects. There is a peculiar spot on the northeastern office corridor in Budapest: a crossroad cuts in the orthogonal urban tissue. Thus the building mass recesses compared to the other buildings on the corner. This can be interpreted as a backyard situation, which gets into central position by the curve of the crossroad. In this place, the focal point coming from the irregularity of the urban tissue had to be created by designing a freely shaped building.

 © Tamas Bujnovszky

(Tamas Bujnovszky)

遵循办公室类型合理性的板块在开放空间的方向上呈现出扇形的形状。因此，其中两个遵循了城市组织的正交性。第三个元素被夹在两者之间，并重新定义了它们看似简单的关系。

The slabs that follow the rationality of the office typology open up in a fan-like shape in the direction of the open space. Two of them thus follow the orthogonality of the urban tissue. The third element is wedged in between the two and redefines their seemingly simple relationship.

 © Tamas Bujnovszky

(Tamas Bujnovszky)

写字楼沿着街道的曲线，人群逐渐向较低的住宅单元走去。动态性是一个基本的原则，在移动过程中变得显而易见：按严格的几何顺序设计的棱镜有时相互覆盖，有时展开。正负两种空间的变化，倾斜块体的转动，都是幻觉的一部分，这种错觉通过绕行建筑物而变得明显起来。这些檐篷伸展在写字楼之间，它们的菱形开口变得越来越宽敞，朝向大楼的内部。下平面和上平面的形状改变，使它们的截距不断变化，它将光线引导到内部的、较暗的部分。几何技巧使空气和悬浮，因此雕塑表面似乎不沉重。

The office blocks follow the curve of the street, the mass gradually steps down towards the lower residential units. Dynamism is an essential principle that becomes obvious on the move: the prisms designed in a strict geometric order sometimes cover each other, sometimes unfold themselves. The variation of the positive and negative spaces, the turning of the sloping blocks are part of the illusion that becomes obvious by circuiting the building. The canopies stretch between the office slabs, their rhombus shaped openings become more and more spacious towards the building’s inner side. The shapes of the lower and upper plane alter so that their intercept changes consistently, it shepherds the light towards the inner, darker parts. The geometrical trick makes for airiness and levitation, thus the sculptural surface does not seem to be heavy.

 © Tamas Bujnovszky

(Tamas Bujnovszky)

渐进式过渡的思想也出现在正面。玻璃表面就像丝带一样出现在棱镜上，尽管玻璃和固体部分在每个块中所占的比例不同。北部街区从地板到天花板都有玻璃，下一个街区的窗户是在通常的栏杆高度，而在南部街区有重要的实心区域。

The idea of the progressive transition appears also on the facade. The glassed surfaces appear on the prisms like ribbons, although the proportion of the glassed and solid parts differs in each block. The northern block is glassed from floor to ceiling, the windows of the next block are at the usual parapet-height, while on the southern block there are significant solid zones.

 © Tamas Bujnovszky

(Tamas Bujnovszky)

这座建筑的花园有着丰富的植物群，它是从棱柱式土堆演变而来的，而且这种解决方案不仅在美观上而且对环境也有友好的影响，因为花园通过其梯田结构和植物群起到隔音墙或更确切地说是防尘器的作用。乘客和骑自行车的人沿着扇子同时开放和封闭的区域前进。

The building’s garden has a rich flora, it evolves from prismatic mounds, and this solution has not only aesthetically, but environmental friendly effects as well, since the garden functions as a sound-proof wall or rather a dust-filter by the means of its terraced structure and its flora. The passengers’ and cyclists’ path leads along an area that is open and closed at the same time by the fan.

 © Tamas Bujnovszky

(Tamas Bujnovszky)

Architects 3h architecture

Location Budapest, Hungary

Category Institutional Buildings

Design Team Andras Mark Bartha, Zsombor Feher, Lilla Kantor, Bence Kertesz, Anna Sara Kiss, Tamas Nemeth, Orsolya Pataj

Design architects Katalin Csillag, Zsolt Gunther

Project Architect Tamas Bekesi

Area 23330.0 sqm

Project Year 2015

Photographs Tamas Bujnovszky