Partizan Architecture was established in 2013 and is currently formed by Zoltán Major and Péter Müllner. The group's practice includes architectural and interior design, furniture and installation design, as well as public space interventions. The name of the firm refers to the tools of partisan warfare, which are reinterpreted in the field of architecture and form the basis of the group's spatial design principles. Highly organized formal architectural strategies are often rigid and slow by design. In contrast, partizan architecture uses tools that allow for rapid, spontaneous adaptation to changing spatial conditions and user needs.Our projects seek innovative, experimental solutions to contemporary challenges in the use of human space. We design to understand, reinterpret and extend use. This approach goes beyond solving functional problems of the moment: it takes into account the unpredictability of future use and tries to prepare for the unknown. With this approach we try to explore new layers of the ever-changing relationship between humans and their environment in different situations. Ongoing research is an integral part of the office's work. The aim of our research is to generate reliable new knowledge on relevant issues of space use that can be applied in design work.

The church of Cserépváralja was completed in 1962 based on the plans of architect László Csaba. Despite its controversial reception, the modernist building, with its unusual appearance in a rural setting, has been loved by local residents over the decades and in 2020 it became possible to renovate it. The church has undergone many changes over the years, which have not followed the architectural vision in terms of use or aesthetics, but have served the needs of the community. We have sought to resolve this tension: to understand the original design intent, with particular attention to the spatial layout of the building and the context of the Catholic liturgy, and to make these evident to the community. We hope that by communicating the symbolism of the building, it will further strengthen the attachment of local people to the church and thus help to preserve its unique concept. During our work, we identified three important design choices that we wanted to follow and reinforce with new interventions. The first is the dramaturgically well-constructed route that leads the worshipper from the street space to the interior of the sacred space, while directing his attention towards the altar. This route has been complemented by a barrier-free alternative, in keeping with the original concept: the ramp starts from the sacristy and then, at an angle adapted to the geometry of the roof, it breaks to reach the entrance. The use of materials is also organised around a very conscious narrative. The building material of the church is the local tufa stone, used in most places in its original colour and form. The renovation work has restored the original architectural finish, and the roof has returned to natural slate roofing. The newly built retaining wall and ramp seek to continue the original idea in the use of materials. The church's particular shape is not an end in itself, but has a symbolic content that complements the liturgy: the axis of the entrance door marks the place of the altar, while the ambo is placed under the highest point of the turned and raised roof ridge. As the original ambo had been demolished, the restoration was intended to restore the pulpit to its original design concept, so the surface treatment and character of the pulpit is the same as the original, but its height and positioning are different due to its changed function.