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  • The Master

    Text: Imre Makovecz

    „… I take architecture seriously. It is not a stylistic exercise for me, it is not the servant of the global world of money aspiring for power, neither that of mindless technology or war economy (cf. Paul Virilio), but serves to sustain sustainable nature (cf. Ferenc Nádasdy) and the divine nature of mankind. I ambition to make industry serve this approach, and enable itself to act as a partner of Hungarian organic architecture. This is something I have not succeeded so far.
    Hungarian organic architecture has its meetings during the forums of Károly Kós Association: participants listen to lectures, present their actual works, and organize series of exhibitions in Poland, Slovakia, Romania and Finland, just to mention the programmes of the last year.
    I believe that the most important task of Károly Kós Association is to educate cultured people and provide work for them. It is also to give new impulses to industry because it suffers from a bad amnesia and tends to believe that money is the only vehicle of values. (…)
    Those who do not know the works of Doelgas or Leverentz do not understand the buildings and ideas of J. Pallasmaa either, and they read the works of Derrida in vain. (…)
    Entrepreneurs fom the Atlantic countries do not bring money here: quite the contrary, they take money away. They need well-skilled, very intelligent and cheap work force. This is how English–Hungarian, American–Hungarian and Dutch–Hungarian designers’ offices were founded. They are not rivals for us as they do not commission us to design buildings sponsored by western money. (…)
    As we believe that the spirit of the people is an archangelic creature, and because we sense the sanctity of the Hungarian Crown, we have no doubt as to where our place is.
    In the 1960s I organized an illegal master school in my apartment. There we studied forms of motion with László Sáros and János Gerle, based on euritmia, the sacred dance revived by Rudolf Steiner. We tried to record the spatial forms of certain movement etudes. This was followed by the tender titled ’Minimal space’ – we published some of the works submitted illegally. The symmetrical signs of the motions of the human body lead us to the structural analysis of folk designs.”

    Imre Makovecz: Writings, 1989