Ádám Hatvani is an architect and graphic designer, graduated from the Budapest University of Technology and Economics 1995- in 2000, at the Hungarian University of Fine Arts in 2000. sporaarchitects architectural office in Budapest, whose works have been published in the regularly published in the national and international media. sporaarchitects is an open architecture firm based in Budapest. young architects, architects, urban thinkers and architects who are interested in the city. focusing on architecture, sustainability and ecological urban development. In addition to numerous projects and research, it has been involved in the architectural design of two Danube stations the recently inaugurated Budapest metro line four, the largest metro line in Hungary, which is now being Hungary's largest infrastructure project. Since 2005, he has been a member of KÉK, the Centre for Contemporary Architecture, the first internationally recognised Hungarian architectural internationally renowned think tank.

The interior design of Metro 3 was a design icon of the 1970s and 1980s, before the concept itself even existed. The modern, poppy, moody, futuristic solutions, colours, shapes, surfaces and furnishings of its time have since been swept away by the permanent retro wave. The technical iron discipline of wall-to-wall reconstruction condemns these details to total destruction. What can be done? Rebuilding is no longer an option, the technology and the will to do so no longer exist. The logic of the demolition process suggests another way. Removing the slatted ceilings and wall cladding reveals the true face of the metro, the real structures that until now have only been seen in tunnels and factory spaces: the tunnels, the steel tubing, the steel sheet insulation, the shotcrete, the slotted walls, the steel cross-pillars. What comes back, reinterprets, alludes, amplifies. The reconstruction respects these elements, revealing and presenting the underlying structures, and reimagines the interior of the station. The original suspended ceiling's division was accentuated by the red luminaires distributed in a perpendicular pattern to the track; the proposed suspended ceiling recalls this division, but makes the surface transparent by the random, gaping placement of the lamellae. The distribution of the slats in the suspended ceiling is similar to that of the Corvin Square station, but here they are both set in the transverse grid of the station and in the colours (pastel red, light and darker grey) of the original row of lights. The red colour is thicker in the passenger concourse and thinner in the platform areas. The original red benches are replaced by pastel-coloured concrete benches, which are a transcription of the old benches in terms of shape and material. The (almost) Parisian blue, the trademark of the West, is returned to the walls as a metallic cladding with varying patterns. An inclined lift in the southern slope will ensure the station is barrier-free. Due to the space requirements of the elevator and the emphasis on the terraces, the slope will not be covered with the full surface, but will be presented in its "natural beauty", showing the difficult and complex construction technology of the station.