As the leader of the company, I have been in the business for over 20 years. I have participated in several successful international and national design competitions. My attitude toward architecture has always been centered on a progressive, innovative and fine arts approach and the search for unique personalized solutions. Examples of this include the international design competition success of the camera obscura design of the Clark Hotel in Budapest, the Budapest Nívó Prize for the Corvin Corner office building in Budapest designed with Studio 100, and the international design competition for the kindergarten in Vienna designed with an alternative concept of space. For more than 15 years I have been a lecturer in the Department of Public Building Design at the Budapest University of Technology and Economics, Faculty of Architecture. While teaching design, I try to make this kind of experimental, collaborative approach with visual artists attractive to students. It is this kind of dedication that gave birth, more than 10 years ago, to the architectural studio I have been running, partly with my students. Planning is always a community effort. It's important to think about space and contemporary architecture in a forward-looking, collaborative way. All our work is unique and the result of teamwork and an interdisciplinary approach. The designers involved in the projects are all independent creators, who also design their own unique and high-quality works.

CONTEXT The Museum of Transport invited us to design the temporary exhibition on the history of transport, following the collaborative work of the "The Cycling Shift" exhibition last year. The location was the same, the Northern Vehicle Repair Diesel Hall in Budapest, representing a significant industrial heritage and undergoing renovation for cultural purposes. LANDSCAPE The design challenge and also the starting point was the multiplicity and diversity of vehicles to be exhibited, compounded by the heterogeneous structure of the Diesel Hall. The latter can be interpreted as a given factor, a predefined landscape in which the vehicles are inserted as mobile elements - part of the "living world". An arrangement of this kind invites the viewer on a path of discovery, to explore the connections for himself. At the Parc de la Villette in Paris, designed by Bernard Tschumi, a similar approach was taken: a superposition of different layers, whose meeting points encourage the viewer to explore and interact freely. THE SYSTEM: LAYERS For Energiamix, the hall space is the first layer. The second is the vehicles to be exhibited, the third is the viewer, and the fourth is the layer of interpretations - the signs, podiums and walk-through boxes. Unlike the Parc de la Villette, however, here the landscape (the hall) is a given structure, and the other layers are arranged above/below it. At the entrance, the landscape is delimited by a series of pavilions acting as gates, through which the exhibition reveals itself. The variety of objects on display is not only measured in number but also in scale: there are real planes and also models the size of children's toys. The differences in scale are addressed by the use of pedestals: just as the exhibits are arranged organically in the large hall, the smaller artefacts are arranged on pedestals. The large exhibition incorporates smaller exhibitions - in a fractal manner. Lookouts provide a view of the whole system. From the elevated perspective, not only the exhibition is visible - the bearing structure of the huge industrial hall is brought to eye level, so that the building itself becomes an exhibition object alongside the primary layers. SUSTAINABILITY Most of the installations are made from timber left over from previous exhibitions, while the lookouts are built from scaffolding. The recycling of materials and the recyclability of the scaffolding underpin one of the main messages of the exhibition: sustainability.