© Tamás Bujnovszky

c.Tamás Bujnovszky

架构师提供的文本描述。建筑，其中的建筑问题，特别是风格方面的问题，可以看作是一个特殊的例子。最近建成的HungaroControl Zrt新大楼。这是一座这样的建筑：这是一种感性和创新性地延续前一阶段的建筑，它有机地融入了创造性的整体，但同时在某种意义上也成为了一个独特的实验，因为它使用一种众所周知的材料，陶瓷甚至在国际环境中也是非凡的。

Text description provided by the architects. Buildings, where architectural problems are particularly stylistic ones, can be considered as special examples. The recently completed new building of HungaroControl Zrt. is a building of such kind: an addition that sensitively and innovatively continues the previous phase, a house which organically fits in the creative oeuvre but at the same time becomes a unique experiment in a sense, since the way it uses a well-known material, ceramics is remarkable even in international context.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

2004年，匈牙利机场的空中控制中心被安置在一座示范性建筑中。一方面，塔马斯·纳吉(Tamás Nagy)设计的ANS II建筑采用了一种熟悉的办公室类型，它建立了一个由中央走廊、办公室两翼组成的系统，与纵向建筑和中间的法院成直角重复。另一方面，立面被乡土砖瓦所覆盖，这是一种相当典型的建筑材料，被调整到他的作品中，代表着匈牙利当代砖建筑中一个决定性的篇章。第三，他用富有诗意的创新工具使这座建筑与众不同：利用他的实验结果，他创造了装饰有放大色彩的鸟类羽毛图案的玻璃板，以供航空参考。这种布局建立了一个开放的系统：交叉翼的节奏创造了一个可持续的结构，一种规律性。

In 2004, the air control center of the Hungarian airport was placed in an exemplary building. On one hand the building of ANS II designed by Tamás Nagy applied a familiar office typology with setting up a system consisting of central corridor office wings repeated at right angle to the longitudinal bulk and the courts in between them. On the other hand the facade is clad by rustic brick tile, a material quite typical of the architect, being adjusted to his oeuvre that represents a determinant chapter in Hungarian contemporary brick architecture. Thirdly, he made the building unique with poetic, innovative tools: by using his experiment results he created glass lamellas decorated with magnified, colored bird feather patterns as a reference to aviation. The layout established an open system: the rhythm of the cross wings created a continuable structure, a kind of regularity.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

2007年为扩大ANS II建筑群而举办的设计竞赛的利害关系主要是确定与Tamás Nagy建筑的关系。参加比赛的人试图继续或反驳要扩建的原有建筑：第一栋建筑被不同的功能方案所阻碍，但后者的尝试因开放式布局和现有房屋的强烈声明而受阻。Zsolt Zpera和LászlóKalmár的设计继续了Tamás Nagy的设想，使他们能够将这一大不相同的空间程序融入上一栋有待扩展的建筑所确定的系统中。在现有的三个街区中增加了三个新的机翼，最后两个街区-除了它们最上层的楼层-是一起建造的：让位给面积大、高度高的空间，比如空中交通管制大厅。

The stake of the design competition organized in 2007 for the extension of the building complex of ANS II was primarily the matter of defining the relationship with the building of Tamás Nagy. The participants of the competition tried either to continue or to counterpoint the original building to be extended: while the first ones were encumbered by the differing functional programs, latter attempts were hindered by the open layout and the strong statement of the existing house. The design of Zsolt Zsuffa and László Kalmár continued the scenario of Tamás Nagy in a way that made them able to fit this significantly different spatial program into the system determined by the previous building to be extended. Three new wings were added to the existing three blocks in a way where the last two ones - except their uppermost story - were built together: giving place to spaces with large floor area and high headroom like the air traffic control hall.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

“环境不需要任何新的建筑特征，最好是现有的建筑特征需要加强。”建筑师们没有采用砖墙表面，而是在分离的承重结构上安装了一个陶瓷板系统，作为二次表层。这一解决方案-根据他们的计划-接管了塔马斯·纳吉(Tamás Nagy)建筑的主要特征，即烧焦粘土的建筑用途，同时从根本上对其进行了重新解读：砖的熟悉内涵、其体积、感官和手工艺被薄片的轻盈、贫瘠和工业风格所取代。灰色抹灰墙之间的相关距离，可以说是真实的外墙，与陶瓷阴影之间的距离，几乎产生了“房子在房子”的效果。将此与法拉第笼效应联系起来可能不会导致太远，它本质上意味着用金属网将要保护的空间封闭起来，以保护其免受外部电磁影响。当然，在这里，立面没有类似的功能，但同时-就像ANS II的玻璃羽毛的典故-它可以给这样一座建筑赋予意义，因为它的功能本身实际上是中性的，空中交通管制技术受到严格管制，中性空间结构来源于实用的办公类型。

"The surroundings do not require any new architectural character, preferably the existing one needs to be reinforced." - drew up the architects in the technical description of the competition plan. Instead of brick facade cladding, the architects applied a ceramic lamella system installed on a separated load bearing structure as a secondary skin. This solution - according to their plans - took over the main characteristic of Tamás Nagy's building, namely the architectural use of burnt clay and at the same time radically reinterpreted it: the familiar connotations of brick, its massiveness, sensuality and the handcraft was replaced by the lightness, sterility and industrial style of lamellas. The relevant distance between the grey plastered wall, which can be considered as the real facade, and the ceramic shades nearly resulted in the "house in a house" effect. Associating this with the Faraday cage effect might not lead too far, it essentially means to enclose the space to be protected with metal mesh in order to shield it against exterior electromagnetic influence. Naturally, here the facade has no similar functions but at the same time – just like the allusions of the ANS II's glass feathers - it can give meaning to such a building where the function itself is actually neutral, the technology of air traffic control is strictly regulated and a neutral space structure derives from the applied office typology.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

90年代末至2000年，匈牙利建筑师对砖建筑产生了浓厚的兴趣，这不仅源于政权更迭后建筑作品手工方面的重新发现，而且成为地域思维的一个重要文学元素。这一想法的一个重要介绍是2002年威尼斯建筑双年展的Miklós Sulyok的策展人概念，他以István Ferencz、Tamás Nagy和Gábor Turányi的砖砌建筑为重点，提出了所谓的区域主义建筑态度。

At the turn of the 90ies and the years of 2000, the great interest arising amongst Hungarian architects towards brick architecture originated not only from the rediscovery of the building works' handcraft aspects after the regime change but it also became an important literary element of regional thinking. An important introduction of this idea was the curatorial concept of Miklós Sulyok at the Venice Biennale of Architecture in 2002 where he presented the so called regionalist architectural attitude by means of focusing on the brick architecture of István Ferencz, Tamás Nagy and Gábor Turányi.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

到目前为止，塔马斯·纳吉(Tamás Nagy)的砖砌建筑已经成为匈牙利最前后一致的文学作品之一。除了造型-有机的尝试，还隐藏在模块化布局和砖作为格栅的装饰可能性，一个开放的表面，几乎推动了砖的实质，导致了令人兴奋的解决方案。以ANSⅡ型建筑砖为例，其主要表现为其作为包覆材料的性质和特点，符合立面设计的平面风格；与前面的例子相反，它的块体不是其块体，而是它的表面特征。在这房子的砖块不再是一个基本的建筑元素，但除了明显的建筑师的参与，更多的解决方案，以抵消玻璃结构正面的表面尽可能多。

By now, the brick architecture of Tamás Nagy has become one of the most consistent and literary coherent Hungarian oeuvre. Beside the statuesque-organic attempts, also the ornamental possibilities hidden in modular arrangement and in the use of brick as a grille, an openwork surface, nearly pushing the envelope of the brick's materiality, have led to exciting solutions. In case of the ANS II building brick appears primarily with its nature and character as cladding material, in compliance with the planar style of the facade design; and contrary to the previous examples here not its massiveness but its surface character becomes dominant. On this house brick is not a fundamental building element anymore but - beside the evident engagement of the architect - much more a solution for counterpointing the glass structure facades on the surface as much as possible.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

ANS II的强大结构代表了延续的可能性和对材料的独特使用，这就造成了一种关于扩展的特殊情况。除了给出一个显而易见的答案，这可以想象是对原有砖建筑的延续-克隆-一个令人兴奋的机会提供了对定居点和布局结构以及建筑外观和意义的创新重新解释-突变。ANS III的设计者明确选择了后一种策略。

The strong structure of ANS II representing the possibility of continuation and the distinctive use of materials created a special situation regarding the extension. Beyond giving an obvious answer, which conceivably could have been the continuation – cloning - of the original brick architecture, an exciting occasion offered the innovative reinterpretation - mutation - of both the settlement and layout structure and of the architectural appearance and meaning. The architects of ANS III have clearly chosen the latter strategy.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

由于使用材料所创造的大房子的强烈氛围，所有基于对砖块和玻璃结构的小规模重新解释的策略，大概都会削弱这两座建筑的独立和相互力量和立场。然而，在这里我们可以看到一个转录，因为-除了材料和颜色-陶瓷层可以与ANS II的玻璃结构的轻盈和透明相比较，它们继续抽象出现在山墙和栅栏墙上的砖块网格，最后(但并非最不重要)表达了背后功能的不同特征。新建筑的层板皮肤也有很好的区别：它看上去像墙结构一样大，但同时表现得像一个透明的半透明的膜。将乡村表面的小砖块和完美的、精确的陶瓷层放在一起，就会产生生产压力，因为我们可以看到相同材料的用途完全不同。

Due to the strong aura of the extended house created by the use of materials, all kind of strategies based on only a small-scale reinterpretation of brick and glass structures would presumably have weakened the independent and mutual power and stance of the two buildings. However, here we can see a transcription, since - beyond material and color - the ceramic lamellas can be compared to the lightness and transparency of the glass structures of ANS II, they continue the abstraction of its brick grid appearing on the gable and fence walls and last - but not least - express the different characters of the function behind. The lamella skin of the new building is well differentiated too: it seems massive nearly like a wall structure but behaves like a transparent, translucent membrane at the same time. Placing the rustic surfaced small brick and the perfect, precise ceramic lamellas next to each other results in a productive stress as we can see radically different usages of the same material.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

在兹佩拉和卡尔马的许多作品中，现代主义的立面设计传统可以追溯到，它的基础是板之间放置的坚实和透明的部分之间的区别，从而利用板条边缘作为正面的主要组织要素。这一概念在一定程度上盛行于2005年的Buda rs市政厅，2007年在Pécs举行的图书馆设计竞赛，许多独立的房子，后来的2010年，关于Hévíz美容店的海拔，还有许多其他的词。将平板边缘投影到立面的工具建立了一定的设计规则，从而实现了广泛的建筑实验。在建筑师的作品序列中，板主要是固体的(包覆着石头或砖块的)和透明的表面。如果美容店只是一层楼高的玻璃平面之间展开的板，其边缘是连接的紧固钢丝绳按照计划，这样提供了一个强烈的绿色外观的支撑结构。

In many works of Zsuffa and Kalmár that modernist facade design tradition can be traced which is based on the distinction between solid and transparent sections placed between the slabs, in this way using the slab edges as dominant organizing elements of the facades. This concept prevails partly in case of the city hall of Budaörs from 2005, the library design competition in Pécs from 2007, many detached houses, later, in 2010 on the elevation of the beauty-shop of Hévíz and in case of many other words. The tool of projecting slab edges to the facade establishes a certain design rule that enables the realization of wide range of architectural experiments. In the sequence of the architects' works slabs separated mainly solid (stone or brick clad) and transparent surfaces. In case of the beauty-shop solely one story high glass planes were stretched between the slabs the edge of which were connected by tight-rope steel wire according to the plans, in this way providing support structure for an intense green facade.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

这个令人兴奋的建筑起源故事也是由ANS III的新建筑完成的，在那里，外观本身-与以前的建筑相比，是一个新的发展-坐落在突出的楼板边缘，已经成为一个完全独立的元素。这一解决办法-已经得到充分研究和经验-产生了若干目标和后果。一方面，就像其他建筑师以前的作品一样，它似乎是固体表面和开启表面之间的一种组织原则。它的工作原理是一个悬臂，支撑在玻璃板后面玻璃表面前的透明正面膜，类似于Hévíz的建筑：这里是一个绿色的物体，这里变成了陶瓷层。陶瓷格栅的表面效果在一些地方占主导地位，在这些地方，层板不运行在玻璃表面和大尺寸的开口被放置在这些表面。由于陶瓷笼，渴望独立和盖住建筑物，被每一层的板隔开，他们把它连接到建筑物的内部空间连接。通过小截面陶瓷元素的重复来寻找均匀性，会使观察者对建筑物的大小和规模产生不确定性。但除了在楼板之间延伸的开口外，可识别的楼板边缘为房屋提供了一个众所周知的、可识别的(层高)规模。

This exciting story of architectural genesis is completed by the new building of ANS III too, where the facade itself - a new development compared to the previous ones - sat on the edge of the protruded slabs has became a totally independent element. Several aims and consequences resulted from this - already well studied and experienced - solution. On one hand - just like in other previous works of the architects - it appears as an organizing principle between solid and opened surfaces. It works as a cantilever supporting the transparent facade membrane in front of the glass surfaces behind the lamellas, similarly to the building in Hévíz: the thing which is a green facade there, here becomes ceramic lamella. The ceramic grille's surface-like effect dominates at places where lamellas do not run in front of the glass surfaces and large sized openings are placed into these surfaces. Since ceramic cage, longing for independence and covering the building, is divided by the slabs on each floor, they connect it to the interior space articulation of the building. The search for homogeneity, which was realized by the repetition of ceramic elements with small section would make the observer uncertain about the size and scale of the building. But beside the openings stretched between the slabs, the recognizable slab edges give a well known, identifiable (story high) scale to the house.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

Dematerialization

最重要的-尽管同时也是最抽象的-建筑的发展在于陶瓷层的建筑效果和意义，这一问题的解决并非没有先决条件。

The most important - though at the same time most abstract - architectural development of this building lays in the architectural effect and meaning of ceramic lamellas, which solution is not without antecedents.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

一方面，层压板的使用提供了一种雕塑/物体样的解释，因为从不同的角度看，表面的识别质量也在发生变化，并导致了曲面的分化。然而，片状体系是完全均一的，同时也是未分化的，这种方式也呈现出一种表面样的印象。前一种情况的一个很好的例子可以是1999年Herzog和de Meuron的中央信号箱建筑，在那里-覆盖简单的质量-金属包层的状态以及它在实体表面和开放式表面之间的过渡主要加强了形状本身及其类似质量的特性，并产生了不寻常的、非物质化的影响。与此同时，伦佐·皮亚诺(Renzo Piano)的建筑(2000年初位于柏林的戴姆勒大楼(Potsdamer Platz)，或2007年的“纽约时报”(New York Times)总部大楼)及其陶瓷幕墙正从地面上逼近，因为它们在坚实而开放的性质中也使用了层板，从而将它们背后的立面投射到表面。

On one hand the use of lamellas provides a sculpturesque/object-like interpretation since seeing from different view points, the recognized massiveness of surfaces is changing too and leads to the differentiation of surfaces. However, the lamella system is completely homogeneous and undifferentiated at the same time, this way presenting a surface-like impression too. A good example of the former case can be the Central Signal Box building of Herzog and de Meuron from 1999, where - covering the simple mass - the statuesqueness of metal cladding and its transition between solid and openwork surfaces strengthens primarily the form itself and its mass-like character, and results in an unusual, dematerializing impact. At the same time, Renzo Piano's buildings (Daimler building in Potsdamer Platz, Berlin at the turn of 2000 or the New York Times headquarter building from 2007) and their ceramic facades are approaching from the surface, since they use lamellas in their solid and open nature too in this way they project the facade behind them to the surface.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

具有结构表面的透明皮肤或块体：这两个特征同时出现在建筑物上。设计的两难之处在于开口：如果空间具有典型的循环功能(可能允许正面遮阳)，层板就会在窗户前运行，但在具有永久性工作环境的办公室，陶瓷遮阳层就会被停止，否则它就会一直放置在建筑物周围。这些大开口是用陶土色的混凝土边框构成的，进一步加强了正面表皮的表面特征，而在这个表面上，窗户要么是从“窗帘”中拉出来的开口，要么是用一定深度的元素切割出来的。

Transparent skin or mass with structured surface: these two features are present on the building at the same time. The dilemma of the design is the matter of openings: in case of spaces of typically  circulation function (where shaded facade may be allowed) the lamellas run in front of the windows, but at offices with permanent working environment the ceramic shades, otherwise consistently placed everywhere around the building, are stopped. These large openings are framed with concrete rim in terracotta color, further strengthening the surface-like character of the facade skin, and in this surface windows are articulated either as openings from a "curtain" drawn aside or cut out by using elements of a certain depth.

除了质量和表面的非物质化，在这种情况下，陶瓷层也意味着一个激进的砖外观转变。外观元素指的是ANSⅡ的建筑，只是在材质和颜色上，所有其他的内涵都有着截然不同的解释。陶瓷元件是由德国NBK公司制造的，在这种情况下，组件的长度为180厘米，这是与建筑师合作开发的结果。与横截面尺寸相比，跨度相当大，因此很少可能安装支架，因此强调了概念意图，即空中外观。陶瓷横梁只有在它们遇到一个开口的地方才有一个末端，这样它们就像一条永无止境的绷带一样绕着建筑物旋转。我们感受到这种影响最强烈的地方-透过角落的层板或在底层或楼上的院子里奔跑的地方-因为在阴影后面没有任何建筑立面，我们可以看到一个漂浮的、几乎非物质化的独立建筑表皮。在这些地方，形体的轮廓被溶解，建筑物被一种特殊的振动包围。

Besides the dematerialization of mass and surface, in this case ceramic lamellas mean a radical brick facade transformation too. The facade elements refer to the building of ANS II only in their material and color; all the other connotations offer drastically different interpretations. The ceramic elements are manufactured by the German company NBK, and in this very situation the components were produced with the length of 180 cm resulting from a development done in co-operation with the architects. The span quite large compared to the cross section dimension made it possible to install the supports rarely; and by this the conceptional intention, namely aerial appearance was emphasized. The ceramic beams have an end only at places where they meet an opening, and in this way they whip round the building like a never-ending bandage. We feel this effect the strongest at spots where - looking through the lamellas of the corners or the ones running in front of the ground floor or upstairs court – due to the absence of any building facade behind the shades we can see a floating, nearly dematerialized, independent building skin. At these places the contours of the form are dissolved, the building is surrounded by a peculiar vibration.

 © Tamás Bujnovszky

c.Tamás Bujnovszky

我们的建筑的意义在于它轻松地跨越了匈牙利砖建筑的限制，但同时又与它保持着联系。这所房子综合、设计了以前的建筑师作品中已经出现过的设计实验，给出了令人兴奋的抽象和具体的解决方案。通过观察已实现的建筑，2007年比赛评审团确定的关于获胜者参赛作品的意见，其中一位成员是建筑协会II的建筑师塔马斯·纳吉(Tamás Nagy)，似乎是真的：“这就是和谐，与ANSⅡ结构共存是平衡的；尽管或感谢不同的建筑工具，整体形象是自然的，新的建筑结束了以前开始的故事，一个敏感的对立面。这种共生关系堪称典范，“年龄差异”可以被微妙地感知到-这是它的主要优点：从现有的建筑结构开始，新建筑只在一定程度上改变了它，每一种姿态，每一个决定都会导致一个小规模但增值的变化。在这里，建筑只有这样才能以高标准进行实践。“

 The significance of our building lies in the fact that it steps over the constraints of Hungarian brick architecture canon with ease, but at the same time keeps relation with it. This house synthesizes, works out design experiments which have already appeared in former works of the architects, presents excitingly abstract and specific detail solutions.  Watching the realized building, the opinion about the winner entry, defined in 2007 by the jury of the competition, where one of the members was Tamás Nagy, architect of building ANS II, seems to be true: "It's harmony, co-existence with the building of ANS II is balanced; in spite of or thanks to the different architectural tools the overall image is natural, the new building closes the previously started story with a sensitive counterpoint. The symbiosis is exemplary, the "age difference" can subtly be perceived - this is its main virtue: starting from the existing structure the new building changed it only to an extend and in a way that every gesture, every decision resulted in a small scaled but value-added change. Here, architecture can be practiced at a high standard only in this way."

 First Floor Plan

一层平面图

案文由Lenge Szabó(本文得到匈牙利科学院JánosBolyai研究奖学金的支持)。

Text by Levente Szabó (This paper was supported by the JánosBolyai Research Scholarship of the Hungarian Academy of Sciences.)

Architects ZSK Architects

Location Budapest, Hungary

Category Services

Architect in Charge László Kalmár, Zsolt Zsuffa

Project Architect Gábor Nagy

Assistant Architects Glória Papp, Szilvia Rehus (competition), Katalin Fazekas, Zsófia Lázár, Mihály Kanyó, Roland Németh, András Gali, Iván Kund, Balázs Rose

Area 10500.0 sqm

Project Year 2012

Photographs Tamás Bujnovszky