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ESZTÉTIKAI BŐRGYÓGYÁSZAT. Kezelési protokollok

Buildings, where architectural problems are particularly stylistic ones, can be considered as special examples. The recently completed new building of HungaroControl Zrt. 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.

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On the other hand the facade is clad by rustic brick tile, a material quite typical of the férfi arcápolás anti aging, 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.

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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.

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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.

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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. An important introduction of this idea was the curatorial concept of Miklós Sulyok at the Venice Biennale of Architecture in where he presented the so called regionalist architectural attitude by means of anti aging beauty center milano on the brick architecture of István Ferencz, Tamás Nagy and Gábor Turányi.

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.

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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.

Beyond giving an obvious answer, which conceivably could have been the continuation — cloning anti aging beauty center milano 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.

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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 Svájci öregedésgátló nyugdíjjárulék 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.

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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.

This concept prevails partly in case of the city hall of Budaörs fromthe library design competition in Pécs frommany detached houses, later, in on the elevation of the beauty-shop of Hévíz and in case of many other words.

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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 anti aging beauty center milano clad and transparent surfaces.

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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. Several aims and consequences resulted from this - already well studied and experienced - solution.

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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.

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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.

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But beside the openings stretched between the slabs, the recognizable slab edges give a well known, identifiable story high scale to the house. 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 fromwhere - 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 or the New York Times headquarter building from 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.

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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.

Section Besides the dematerialization of mass and surface, in this case ceramic lamellas mean a radical brick facade transformation too.

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