With a profoundly diverse background, Hungary’s musical culture consists of multiple exchanges and overlaps between the spontaneous and the concerted, the impromptu and the choreographed, the passed-on-by-mouth and the notated, all of them cross-influencing and providing access to each other to form a unique musical heritage.
Our proposal for the House of Hungarian Music evolves around a simple gesture generating a complexity of spatial and acoustic experiences:
Five simple volumes —each an acoustic and curatorial platonic optimum—, are rotated and stacked on top of each other. A web of fine threads weaves a membrane around them and opens up a myriad of interstices between.
And so the project consists of two worlds: The informal zone between external membrane and the core of platonic volumes, and the acoustically perfectly controllable insides of these stacked volumes.
Stacked on top yet separated from each other, the volumes are sound tunnels which can be opened on both ends to let the outside in or the inside be heard outside.
Sounds flow in and out and link the House of Hungarian Music with its surroundings. These formal sound tunnels are cultural cross-sections engaging the visitors in a reconfigurable play of Hungary’s multifaceted history of music.
In the informal space that continuously weaves around, rhythms and tunes, the acoustic preconditions of music, are given a continuous space for the public’s discoveries.
Like Hungary’s musical culture itself, the House of Hungarian Music is a place where the informal and the formal co-exist in a mutually enriching interdependence.
FBA: Florian Busch, Sachiko Miyazaki, Momoyo Yamawaki, Akira Miyamoto, Suguru Takahashi, Antoine Vaxelaire