The Palace of the Gresham Insurance Company (the latter Apartment and Retail Complex) was the most luxurious apartment development in the capital, built with the utmost precision and level of luxury directly upon the axis of the Lánchíd (Chain Bridge). The designers were Zsigmond QUITTNER and József VÁGÓ; the sculptural ornamentation is the work of Géza MARÓTI, Ede TELCS, Miklós LIGETI, Ede MARGÓ and Szigfrid PONGRÁCZ. The stain-glass windows of the staircase opening from sky-lit passages were designed and carried out by Miksa RÓTH. The whole building is characterised by the three dimensional, sculptural handling of novelly formed elements. (Source: Budapest Architectural guide - 20th century, 6Bt, 1997)
Today it functions as a Four Seasons Hotel.

www.fourseasons.com/budapest

© Hack Róbert, KÖH

The facade of the school designed by Ármin HEGEDÜS in 1906, richly ornamented with undulating ribbons of brick and mosaic friezes guarantees it a place amongst the most beautiful schools of the capital of Hungary. The mosaics, by Zsigmond VAJDA, depict children's game from the turn of the century. The interior layout - including the furnishing - conform to expectations of healthy living habits and contemporary pedagogical principles. The architect saw these elements, and architecture itself, as important components of children's education. (Source: Budapest Architectural guide - 20th century, 6Bt, 1997)

www.dobsuli.hu

© Papp Tímea, KÖH

A superb example of late Art Nouveau architecture designed by Aladár ÁRKAY (1913), this Church synthesises the architectural trends of the turn of the century and international influences. A central layout (in the shape of a Greek cross) influenced by American evangelist churches is representative of the new Protestant church type which had spread primarily throughout German speaking territories. The reinforced concrete structure clearly utilises the possibilities and characteristics of the new material as opposed to the more commonly employed arches which recall medieval forms. The organisation of space reveals the influence of Finnish National Romanticism, the black and gold colours are the heavily emphasized geometric ornaments suggest the presence of the Wiener Werkstätte. Forms originating from Hungarian folk art interconnect and unify, appearing - in Árkay´s unique, abstract interpretation - on the carved wooden gates, the stained-glass windows, the ceramic tiles decorating the portal, the patterns of the wall-paintings and the surrounding fence. The entire building is still intact, including the interior. Several apartments are also contained within the church building for the use of the pastors. The adjacent college was built in the same style fifteen years later. (Source: Budapest Architectural guide - 20th century, 6Bt, 1997)

www.fasor.hu

© Rácz Jolán, KÖH

The Institute, designed by Ödön LECHNER and built by Sándor HAUSZMANNN, serves the same function since its opening since 1899 - this naturally contributed to the conservation of the original appearance in a relatively intact state. The magnificent roof of ZSOLNAY tiles shining in several shades of blue can be overviewed from the roof terrace of the back annex of the building. One can feel the Oriental atmosphere inside the building: in the foyer, the stairways and the corridors. The way Lechner takes out motives from the small-scale world of embroidery and carving and shapes them into monumental spatial elements while preserving their original character is the culminating point of his brilliant style creation. (Source: Art Nouveau in Hungarian Way, Ödön Lechner, 1845-1914, Kulturális Örökségvédelmi Hivatal, 2004)

www.mafi.hu

© Horváth Edina, KÖH