Abstract :
The most memorable architectural images of the early 1990s were those of the organic architecture of Imre Makovecz. With their extraordinary, Expressionist timber forms, they encapsulated for the West the romantic possibilities of the architecture that lay behind the former Iron Curtain. Edwin Heathcote, who in 1997 wrote a monograph on Imre Makovecz for Academy Editions, here explains why the organic counterpoised by the rational has continued to provide such a rich dialogue for contemporary Hungarian architecture.
Keywords :
Hungarian Pavilion , Erno Goldfinger , Summer House , Dezso Ekler , Pierre Vago , Tokaj , Disznoko Winery tractor building , Farkas Molnar , GEON Studio , Semper , Gropius , WET Research and Innovation Centre , Wagner , Red Cube House , Ferenc Csagoly , Adolf Loos , Gresham Palace , Inarchi , Frigyes Feszl , Wright , MEO Contemporary Art Collection , Gaudi , Rudolf Steiner , Jozsef Weber , Museum of Applied Arts , National Theatre , Akos Takacs , Bela Lajta , Zsuffa and Kalmar , Herzog & de Meuron , Joze Plecnik , Town Hall , Tate Modern , Goldman-Salatsch store , Budaors , Laban Dance Centre , Rozsavolgyi House , Uj Irany Group , Laszlo Moholy-Nagy , Millennium Cultural Centre , Imre Makovecz , Marcel Breuer , Ferenc Ban , Odon Lechner , Goff , Laszlo Benczur
