Foreword ↓
Our exhibition reflects on the manifesto by Carlo Ratti, curator of the 19th International Architecture Exhibition of the Venice Biennale, according to which, “to face a burning world, architecture must harness all the intelligence around us.” The Hungarian Pavilion addresses a particular yet global phenomenon: the issue of leaving the architectural career behind and finding a new career instead. Curator Márton Pintér and his team of young architects present thirteen Hungarian success stories, showcasing the work of renowned creative professionals who graduated as architects and have brought their architectural knowledge to success outside their profession and continue to do so to this day. Among them we find inventors, scientists, musicians, public figures, cultural and media professionals and university professors. Some of them are now household names around the world, the career paths of some are still on the upswing, while others have achieved exemplary results or particular intellectual stature in their chosen fields. What they all have in common is that they started their careers as architects and eventually exported their knowledge to related fields or to completely different areas. While architecture is bound by strict rules, the success stories of these professionals reveal how it is possible to change careers and find new paths to come up with creative and innovative solutions and represent values that market-oriented architecture cannot. The somewhat provocative title There is Nothing to See Here is intended to draw attention from a position that acts as if architecture were merely a contest of current spectacles. In fact, the project itself takes the architectural profession very seriously and promotes endeavour for quality. Even spectacle does not always imply the same quality, significance or measure of success; the primary criterion of this selection was the accumulation of creative forces and knowledge in specific cases where success stories had begun with architectural studies, the outcome of which was not ultimately manifested in architecture. Only two of the exhibition’s thirteen participants are women. This ratio also reflects the particular gendered nature of the profession, an inequality that is not at all a Hungarian phenomenon, but is also observable on the international scene. Not only does the project highlight success stories but it also focuses on future architects. The project team conducted a survey among architecture students at universities across Hungary on how future architects perceive the themes in focus of each success story. The responses paint a picture of a generation sensitive to problems, with the positive conclusion that young people want to believe that an architect can make more than just a building, and that a good building is more than concrete, glass and steel. The exhibition’s participants have each formulated a word of advice for architecture students. These wise and inspiring, sometimes useful and practical pieces of advice ultimately encourage self-discovery, a process that can result in trying out a new career path as well as staying on course in the architectural profession and reinforcing one’s vocation. Indeed there is great need for reflective, problem-solving and creative architects armed with a multidisciplinary skillset, talent and knowledge in our increasingly challenging world. – Julia Fabényi, commissioner
Architecture is a creative process and the construction industry is a pillar of the economy. Since architecture is subsumed under the construction industry, we tend to label any building that is constructed as architecture. However, while architecture shapes culture, the construction industry is primarily a driver of economic prosperity. In other words, the creative process has no direct impact on the economy, nor does a prospering economy necessarily contribute to culture. Architects are no longer able to fulfil their social and cultural role: instead, they try their best to meet the ever-changing requirements of the market. This trend is associated worldwide with the erosion of erstwhile guiding principles, the loss of the architect’s creative role and a monotonous built environment tailored to market requirements. (Unsustainable prestige investments, uniform office culture, the dominance of RAL7016 grey, etc.) Architectural knowledge can often be put to much better use outside the framework of the construction industry. The Hungarian Pavilion offers alternatives for career starters, career dropouts and career finders alike, and proves that an architect can make more than just a house. (In fact, there is nothing more sustainable than not building.) You should no longer ignore 2050. You should no longer deal with starchitects. You should no longer self-realise. You should no longer design houses. You should no longer have anything new to say. I no longer have anything new to say to you. But one more thing: ↓ No is more… – Márton Pintér, curator
Against Specialization ↓
What is architecture? What does it mean to be an architect today? Is there a definition that abandons the confines of the built environment to embrace a wider notion of spatial practices? The current historical moment, crushed by a complex system of poly-crisis, in tandem with the progressive shift to media and new technologies, has brought about a different definition of “architect”: a trans-disciplinary profile using space as a medium rather than a goal. In the hands of a novel generation of practitioners, space becomes a formidable lens to explore and respond to urgent contemporary challenges: from the environmental collapse to growing inequalities, from the pervasive impact of technologies to political radicalization and social crisis. In conversation with other disciplines, architecture’s old field of action has expanded, unlocking unprecedented academic and professional possibilities. The architect as environmentalist, as policymaker, as technologist, as activist, as writer, as film maker, as video game designer, as cultural strategist, as consultant, etc. are just some of the possibilities in the repertoire of young graduates. It’s time to move beyond specialization and adopt hybrid forms of pedagogy and learning in order to unlock all of the intelligences architects can mobilize. – Ippolito Pestellini Laparelli, founder of 2050 plus
Foreword ↓
Our exhibition reflects on the manifesto by Carlo Ratti, curator of the 19th International Architecture Exhibition of the Venice Biennale, according to which, “to face a burning world, architecture must harness all the intelligence around us.” The Hungarian Pavilion addresses a particular yet global phenomenon: the issue of leaving the architectural career behind and finding a new career instead. Curator Márton Pintér and his team of young architects present thirteen Hungarian success stories, showcasing the work of renowned creative professionals who graduated as architects and have brought their architectural knowledge to success outside their profession and continue to do so to this day. Among them we find inventors, scientists, musicians, public figures, cultural and media professionals and university professors. Some of them are now household names around the world, the career paths of some are still on the upswing, while others have achieved exemplary results or particular intellectual stature in their chosen fields. What they all have in common is that they started their careers as architects and eventually exported their knowledge to related fields or to completely different areas. While architecture is bound by strict rules, the success stories of these professionals reveal how it is possible to change careers and find new paths to come up with creative and innovative solutions and represent values that market-oriented architecture cannot. The somewhat provocative title There is Nothing to See Here is intended to draw attention from a position that acts as if architecture were merely a contest of current spectacles. In fact, the project itself takes the architectural profession very seriously and promotes endeavour for quality. Even spectacle does not always imply the same quality, significance or measure of success; the primary criterion of this selection was the accumulation of creative forces and knowledge in specific cases where success stories had begun with architectural studies, the outcome of which was not ultimately manifested in architecture. Only two of the exhibition’s thirteen participants are women. This ratio also reflects the particular gendered nature of the profession, an inequality that is not at all a Hungarian phenomenon, but is also observable on the international scene. Not only does the project highlight success stories but it also focuses on future architects. The project team conducted a survey among architecture students at universities across Hungary on how future architects perceive the themes in focus of each success story. The responses paint a picture of a generation sensitive to problems, with the positive conclusion that young people want to believe that an architect can make more than just a building, and that a good building is more than concrete, glass and steel. The exhibition’s participants have each formulated a word of advice for architecture students. These wise and inspiring, sometimes useful and practical pieces of advice ultimately encourage self-discovery, a process that can result in trying out a new career path as well as staying on course in the architectural profession and reinforcing one’s vocation. Indeed there is great need for reflective, problem-solving and creative architects armed with a multidisciplinary skillset, talent and knowledge in our increasingly challenging world. – Julia Fabényi, commissioner
Architecture is a creative process and the construction industry is a pillar of the economy. Since architecture is subsumed under the construction industry, we tend to label any building that is constructed as architecture. However, while architecture shapes culture, the construction industry is primarily a driver of economic prosperity. In other words, the creative process has no direct impact on the economy, nor does a prospering economy necessarily contribute to culture. Architects are no longer able to fulfil their social and cultural role: instead, they try their best to meet the ever-changing requirements of the market. This trend is associated worldwide with the erosion of erstwhile guiding principles, the loss of the architect’s creative role and a monotonous built environment tailored to market requirements. (Unsustainable prestige investments, uniform office culture, the dominance of RAL7016 grey, etc.) Architectural knowledge can often be put to much better use outside the framework of the construction industry. The Hungarian Pavilion offers alternatives for career starters, career dropouts and career finders alike, and proves that an architect can make more than just a house. (In fact, there is nothing more sustainable than not building.) You should no longer ignore 2050. You should no longer deal with starchitects. You should no longer self-realise. You should no longer design houses. You should no longer have anything new to say. I no longer have anything new to say to you. But one more thing: ↓ No is more… – Márton Pintér, curator
Against Specialization ↓
What is architecture? What does it mean to be an architect today? Is there a definition that abandons the confines of the built environment to embrace a wider notion of spatial practices? The current historical moment, crushed by a complex system of poly-crisis, in tandem with the progressive shift to media and new technologies, has brought about a different definition of “architect”: a trans-disciplinary profile using space as a medium rather than a goal. In the hands of a novel generation of practitioners, space becomes a formidable lens to explore and respond to urgent contemporary challenges: from the environmental collapse to growing inequalities, from the pervasive impact of technologies to political radicalization and social crisis. In conversation with other disciplines, architecture’s old field of action has expanded, unlocking unprecedented academic and professional possibilities. The architect as environmentalist, as policymaker, as technologist, as activist, as writer, as film maker, as video game designer, as cultural strategist, as consultant, etc. are just some of the possibilities in the repertoire of young graduates. It’s time to move beyond specialization and adopt hybrid forms of pedagogy and learning in order to unlock all of the intelligences architects can mobilize. – Ippolito Pestellini Laparelli, founder of 2050 plus
Foreword ↓
Our exhibition reflects on the manifesto by Carlo Ratti, curator of the 19th International Architecture Exhibition of the Venice Biennale, according to which, “to face a burning world, architecture must harness all the intelligence around us.” The Hungarian Pavilion addresses a particular yet global phenomenon: the issue of leaving the architectural career behind and finding a new career instead. Curator Márton Pintér and his team of young architects present thirteen Hungarian success stories, showcasing the work of renowned creative professionals who graduated as architects and have brought their architectural knowledge to success outside their profession and continue to do so to this day. Among them we find inventors, scientists, musicians, public figures, cultural and media professionals and university professors. Some of them are now household names around the world, the career paths of some are still on the upswing, while others have achieved exemplary results or particular intellectual stature in their chosen fields. What they all have in common is that they started their careers as architects and eventually exported their knowledge to related fields or to completely different areas. While architecture is bound by strict rules, the success stories of these professionals reveal how it is possible to change careers and find new paths to come up with creative and innovative solutions and represent values that market-oriented architecture cannot. The somewhat provocative title There is Nothing to See Here is intended to draw attention from a position that acts as if architecture were merely a contest of current spectacles. In fact, the project itself takes the architectural profession very seriously and promotes endeavour for quality. Even spectacle does not always imply the same quality, significance or measure of success; the primary criterion of this selection was the accumulation of creative forces and knowledge in specific cases where success stories had begun with architectural studies, the outcome of which was not ultimately manifested in architecture. Only two of the exhibition’s thirteen participants are women. This ratio also reflects the particular gendered nature of the profession, an inequality that is not at all a Hungarian phenomenon, but is also observable on the international scene. Not only does the project highlight success stories but it also focuses on future architects. The project team conducted a survey among architecture students at universities across Hungary on how future architects perceive the themes in focus of each success story. The responses paint a picture of a generation sensitive to problems, with the positive conclusion that young people want to believe that an architect can make more than just a building, and that a good building is more than concrete, glass and steel. The exhibition’s participants have each formulated a word of advice for architecture students. These wise and inspiring, sometimes useful and practical pieces of advice ultimately encourage self-discovery, a process that can result in trying out a new career path as well as staying on course in the architectural profession and reinforcing one’s vocation. Indeed there is great need for reflective, problem-solving and creative architects armed with a multidisciplinary skillset, talent and knowledge in our increasingly challenging world. – Julia Fabényi, commissioner
Architecture is a creative process and the construction industry is a pillar of the economy. Since architecture is subsumed under the construction industry, we tend to label any building that is constructed as architecture. However, while architecture shapes culture, the construction industry is primarily a driver of economic prosperity. In other words, the creative process has no direct impact on the economy, nor does a prospering economy necessarily contribute to culture. Architects are no longer able to fulfil their social and cultural role: instead, they try their best to meet the ever-changing requirements of the market. This trend is associated worldwide with the erosion of erstwhile guiding principles, the loss of the architect’s creative role and a monotonous built environment tailored to market requirements. (Unsustainable prestige investments, uniform office culture, the dominance of RAL7016 grey, etc.) Architectural knowledge can often be put to much better use outside the framework of the construction industry. The Hungarian Pavilion offers alternatives for career starters, career dropouts and career finders alike, and proves that an architect can make more than just a house. (In fact, there is nothing more sustainable than not building.) You should no longer ignore 2050. You should no longer deal with starchitects. You should no longer self-realise. You should no longer design houses. You should no longer have anything new to say. I no longer have anything new to say to you. But one more thing: ↓ No is more… – Márton Pintér, curator
Against Specialization ↓
What is architecture? What does it mean to be an architect today? Is there a definition that abandons the confines of the built environment to embrace a wider notion of spatial practices? The current historical moment, crushed by a complex system of poly-crisis, in tandem with the progressive shift to media and new technologies, has brought about a different definition of “architect”: a trans-disciplinary profile using space as a medium rather than a goal. In the hands of a novel generation of practitioners, space becomes a formidable lens to explore and respond to urgent contemporary challenges: from the environmental collapse to growing inequalities, from the pervasive impact of technologies to political radicalization and social crisis. In conversation with other disciplines, architecture’s old field of action has expanded, unlocking unprecedented academic and professional possibilities. The architect as environmentalist, as policymaker, as technologist, as activist, as writer, as film maker, as video game designer, as cultural strategist, as consultant, etc. are just some of the possibilities in the repertoire of young graduates. It’s time to move beyond specialization and adopt hybrid forms of pedagogy and learning in order to unlock all of the intelligences architects can mobilize. – Ippolito Pestellini Laparelli, founder of 2050 plus
Foreword ↓
Our exhibition reflects on the manifesto by Carlo Ratti, curator of the 19th International Architecture Exhibition of the Venice Biennale, according to which, “to face a burning world, architecture must harness all the intelligence around us.” The Hungarian Pavilion addresses a particular yet global phenomenon: the issue of leaving the architectural career behind and finding a new career instead. Curator Márton Pintér and his team of young architects present thirteen Hungarian success stories, showcasing the work of renowned creative professionals who graduated as architects and have brought their architectural knowledge to success outside their profession and continue to do so to this day. Among them we find inventors, scientists, musicians, public figures, cultural and media professionals and university professors. Some of them are now household names around the world, the career paths of some are still on the upswing, while others have achieved exemplary results or particular intellectual stature in their chosen fields. What they all have in common is that they started their careers as architects and eventually exported their knowledge to related fields or to completely different areas. While architecture is bound by strict rules, the success stories of these professionals reveal how it is possible to change careers and find new paths to come up with creative and innovative solutions and represent values that market-oriented architecture cannot. The somewhat provocative title There is Nothing to See Here is intended to draw attention from a position that acts as if architecture were merely a contest of current spectacles. In fact, the project itself takes the architectural profession very seriously and promotes endeavour for quality. Even spectacle does not always imply the same quality, significance or measure of success; the primary criterion of this selection was the accumulation of creative forces and knowledge in specific cases where success stories had begun with architectural studies, the outcome of which was not ultimately manifested in architecture. Only two of the exhibition’s thirteen participants are women. This ratio also reflects the particular gendered nature of the profession, an inequality that is not at all a Hungarian phenomenon, but is also observable on the international scene. Not only does the project highlight success stories but it also focuses on future architects. The project team conducted a survey among architecture students at universities across Hungary on how future architects perceive the themes in focus of each success story. The responses paint a picture of a generation sensitive to problems, with the positive conclusion that young people want to believe that an architect can make more than just a building, and that a good building is more than concrete, glass and steel. The exhibition’s participants have each formulated a word of advice for architecture students. These wise and inspiring, sometimes useful and practical pieces of advice ultimately encourage self-discovery, a process that can result in trying out a new career path as well as staying on course in the architectural profession and reinforcing one’s vocation. Indeed there is great need for reflective, problem-solving and creative architects armed with a multidisciplinary skillset, talent and knowledge in our increasingly challenging world. – Julia Fabényi, commissioner
Architecture is a creative process and the construction industry is a pillar of the economy. Since architecture is subsumed under the construction industry, we tend to label any building that is constructed as architecture. However, while architecture shapes culture, the construction industry is primarily a driver of economic prosperity. In other words, the creative process has no direct impact on the economy, nor does a prospering economy necessarily contribute to culture. Architects are no longer able to fulfil their social and cultural role: instead, they try their best to meet the ever-changing requirements of the market. This trend is associated worldwide with the erosion of erstwhile guiding principles, the loss of the architect’s creative role and a monotonous built environment tailored to market requirements. (Unsustainable prestige investments, uniform office culture, the dominance of RAL7016 grey, etc.) Architectural knowledge can often be put to much better use outside the framework of the construction industry. The Hungarian Pavilion offers alternatives for career starters, career dropouts and career finders alike, and proves that an architect can make more than just a house. (In fact, there is nothing more sustainable than not building.) You should no longer ignore 2050. You should no longer deal with starchitects. You should no longer self-realise. You should no longer design houses. You should no longer have anything new to say. I no longer have anything new to say to you. But one more thing: ↓ No is more… – Márton Pintér, curator
Against Specialization ↓
What is architecture? What does it mean to be an architect today? Is there a definition that abandons the confines of the built environment to embrace a wider notion of spatial practices? The current historical moment, crushed by a complex system of poly-crisis, in tandem with the progressive shift to media and new technologies, has brought about a different definition of “architect”: a trans-disciplinary profile using space as a medium rather than a goal. In the hands of a novel generation of practitioners, space becomes a formidable lens to explore and respond to urgent contemporary challenges: from the environmental collapse to growing inequalities, from the pervasive impact of technologies to political radicalization and social crisis. In conversation with other disciplines, architecture’s old field of action has expanded, unlocking unprecedented academic and professional possibilities. The architect as environmentalist, as policymaker, as technologist, as activist, as writer, as film maker, as video game designer, as cultural strategist, as consultant, etc. are just some of the possibilities in the repertoire of young graduates. It’s time to move beyond specialization and adopt hybrid forms of pedagogy and learning in order to unlock all of the intelligences architects can mobilize. – Ippolito Pestellini Laparelli, founder of 2050 plus
Foreword ↓
Our exhibition reflects on the manifesto by Carlo Ratti, curator of the 19th International Architecture Exhibition of the Venice Biennale, according to which, “to face a burning world, architecture must harness all the intelligence around us.” The Hungarian Pavilion addresses a particular yet global phenomenon: the issue of leaving the architectural career behind and finding a new career instead. Curator Márton Pintér and his team of young architects present thirteen Hungarian success stories, showcasing the work of renowned creative professionals who graduated as architects and have brought their architectural knowledge to success outside their profession and continue to do so to this day. Among them we find inventors, scientists, musicians, public figures, cultural and media professionals and university professors. Some of them are now household names around the world, the career paths of some are still on the upswing, while others have achieved exemplary results or particular intellectual stature in their chosen fields. What they all have in common is that they started their careers as architects and eventually exported their knowledge to related fields or to completely different areas. While architecture is bound by strict rules, the success stories of these professionals reveal how it is possible to change careers and find new paths to come up with creative and innovative solutions and represent values that market-oriented architecture cannot. The somewhat provocative title There is Nothing to See Here is intended to draw attention from a position that acts as if architecture were merely a contest of current spectacles. In fact, the project itself takes the architectural profession very seriously and promotes endeavour for quality. Even spectacle does not always imply the same quality, significance or measure of success; the primary criterion of this selection was the accumulation of creative forces and knowledge in specific cases where success stories had begun with architectural studies, the outcome of which was not ultimately manifested in architecture. Only two of the exhibition’s thirteen participants are women. This ratio also reflects the particular gendered nature of the profession, an inequality that is not at all a Hungarian phenomenon, but is also observable on the international scene. Not only does the project highlight success stories but it also focuses on future architects. The project team conducted a survey among architecture students at universities across Hungary on how future architects perceive the themes in focus of each success story. The responses paint a picture of a generation sensitive to problems, with the positive conclusion that young people want to believe that an architect can make more than just a building, and that a good building is more than concrete, glass and steel. The exhibition’s participants have each formulated a word of advice for architecture students. These wise and inspiring, sometimes useful and practical pieces of advice ultimately encourage self-discovery, a process that can result in trying out a new career path as well as staying on course in the architectural profession and reinforcing one’s vocation. Indeed there is great need for reflective, problem-solving and creative architects armed with a multidisciplinary skillset, talent and knowledge in our increasingly challenging world. – Julia Fabényi, commissioner
Architecture is a creative process and the construction industry is a pillar of the economy. Since architecture is subsumed under the construction industry, we tend to label any building that is constructed as architecture. However, while architecture shapes culture, the construction industry is primarily a driver of economic prosperity. In other words, the creative process has no direct impact on the economy, nor does a prospering economy necessarily contribute to culture. Architects are no longer able to fulfil their social and cultural role: instead, they try their best to meet the ever-changing requirements of the market. This trend is associated worldwide with the erosion of erstwhile guiding principles, the loss of the architect’s creative role and a monotonous built environment tailored to market requirements. (Unsustainable prestige investments, uniform office culture, the dominance of RAL7016 grey, etc.) Architectural knowledge can often be put to much better use outside the framework of the construction industry. The Hungarian Pavilion offers alternatives for career starters, career dropouts and career finders alike, and proves that an architect can make more than just a house. (In fact, there is nothing more sustainable than not building.) You should no longer ignore 2050. You should no longer deal with starchitects. You should no longer self-realise. You should no longer design houses. You should no longer have anything new to say. I no longer have anything new to say to you. But one more thing: ↓ No is more… – Márton Pintér, curator
Against Specialization ↓
What is architecture? What does it mean to be an architect today? Is there a definition that abandons the confines of the built environment to embrace a wider notion of spatial practices? The current historical moment, crushed by a complex system of poly-crisis, in tandem with the progressive shift to media and new technologies, has brought about a different definition of “architect”: a trans-disciplinary profile using space as a medium rather than a goal. In the hands of a novel generation of practitioners, space becomes a formidable lens to explore and respond to urgent contemporary challenges: from the environmental collapse to growing inequalities, from the pervasive impact of technologies to political radicalization and social crisis. In conversation with other disciplines, architecture’s old field of action has expanded, unlocking unprecedented academic and professional possibilities. The architect as environmentalist, as policymaker, as technologist, as activist, as writer, as film maker, as video game designer, as cultural strategist, as consultant, etc. are just some of the possibilities in the repertoire of young graduates. It’s time to move beyond specialization and adopt hybrid forms of pedagogy and learning in order to unlock all of the intelligences architects can mobilize. – Ippolito Pestellini Laparelli, founder of 2050 plus