budapest, hungary
type of commission
international competition
government of hungary

project team
manuel der hagopian, grégoire du pasquier, nicolas moser, simon pelletier, kien pham, franscesco montresor, nhung pham
project date

The ‘city park soundscape’ aims to be an important center of music and a welcoming destination for budapest’s inhabitants and visitors. The intent is for the project to be more than just a museum, as its central position will identify it as both a cultural and public space. Music lovers and passersby will be able to meet and enjoy the facility as a hub for art, relaxation, and creation from the inside-out. 

Influenced by its immediate surroundings, the hungarian monument is a poetic interpretation of the music box. It is both a sculptural place and a point of departure for a voyage though the world of acoustic harmonies.The skyline of the complex has been pitched at a lower scale than its context in order to create a dialogue with and signify respect for the park’s other iconic buildings, especially ‘vajdahunyad castle’. Open in every direction, the massing is divided to reinforce its central position in the landscape, thus attracting visitors and bringing flexibility to various activities.

A key aspect of the work is its function as public space. An organization of programs brings together entrance plazas, an open theatre, outdoor stages, bleachers, and a courtyard. From the neighboring structures, the project will engage with the park in an interplay of reflection. This efficient and amorphous outer layer contrasts with the interiority of the center, where a delicate membrane of strips that circumnavigate the volume stands as the main architectural feature.

By adopting this shape, the ‘soundscape’ the designers are able to implement acoustic phenomena, such as diffraction, reflection, and absorption, that are capable of generating different types of sonic ambiances. Therefore, construction consists of specific materials ubiquitous to music: wood, brass, and stone. all three have unique properties that allow them to carry and reflect sound. These components are extensively used throughout the three lobbies, which compose the core of the building. As visitors circulate amongst them, they are able to visualize, engage, and hear contrast between these individual acoustic universes linked by anechoic corridors. Organized in a circular plan, the entries form a never-ending orchestral ring in which the city’s inhabitants, visitors, students, and composers are fully immersed within a musical experience.