Marton Peto PORTFOLIO 2019
I am a recently graduated architect based currently in Lisbon and now I am fully dedicated to start a new chapter, looking for continuous stimuli. I am interested in spatial design in all its forms and scales, yet I feel more comfortable with tangible design, touching, feeling and looking at things, not just the screen. Communication is key, asking is not a weakness. One can only be fully immersed if comfortable with the bigger picture. The difficulty of an architectural process isn’t adding but choosing, making decisions, to let go. metoparton
TABLE OF CONTENTS
00 RESUME
01 NEVER WORK!
01 | 12
Housing for the upcoming change / Lisbon
02 A HOME IN NOWHERE
13 | 16
Five spaces for five art pieces
03 UP/SCALE/DOWN
17 | 28
New urban fabric through housing / Stockholm
04 THE LIVING BOOM 29 | 34 EASA Not Yet decided / Nida
05 SUSTAINABLE SOCIAL ENVIRONMENT
35 | 42
Social rehabilitation in a rust belt / Budapest
06 THE TING
43 | 48
EASA Links / Valletta
07 DEMOLITION EASA Wastelands / Helsinki
49 | 52
MARTON PETO Rua de São Bento 520 1E, Lisbon +351 935861382 / +3620 5844939 petomarton91@gmail.com
I have studied in Hungary, where I learnt the importance of construction and technical solutions. Then I have studied in Portugal, where I understood the theory, the historic context of architecture, its cultural importance. And in the meantime I was lucky and prviliged to meet with fellow students from all over Europe.
I enjoy
I work with AutoCAD Adobe suite Sketchup Vray ArchiCAD
Photography Cooking Camping
I speak English Hungarian a bit of French and Portuguese
EDUCATION Universidade Autónoma de Lisboa, Lisbon, Portugal Master Degree in Architecture Francisco Aires Mateus, Joaquim Moreno 2016-2019
Budapest University of Techonolgy and Economics, Budapest, Hungary Architecture studies (10 semesters Integrated Master’s Programme) 2010-2016
Németh László Gimnázium, Budapest, Hungary High School Diploma 2010
WORK EXPERIENCE Pedro Reis Arquitecto, Lisbon, Portugal (8 months) Intern and Junior designer 2017-2018
Gelesz and Lenzsér Ltd. Budapest, Hungary (18 months) Intern and Junior designer 2015-2016
Gépész Central Ltd. (6 weeks) Constructional engineering intern 2012
Paczolay Ltd. (8 weeks) Constructional employment 2011
WORKSHOPS The Living Boom - EASA Not Yet Decided, Nida, Lithuania constructing an open public space based upon earlier design 2016
The Ting - EASA Links, Valletta Malta organizing, tutoring and constructing a small scale musical installation 2015
C.L.T(angle) - EASA Symбиоза, Veliko Tărnovo, Bulgaria lectures on characteristics of cross laminated timber, design and then construct installation 2014
City is my Playground - EASA Reaction , Žužemberk, Slovenia graffiti workshop, experimenting with paint, colours and layering 2013
Demolition - EASA Wastelands, Helsinki, Finland experimentational workshop, designing structures for demolition 2012
VOLUNTEERING CASA (Centro de Apoio ao Sem Abrigo), Lisbon volunteer activity supporting homeless people, families in need, cooking, packaging and distributing lunch and dinner for 500 people, collecting donations and nearly expired food 2019
EASA (European Architecture Students' Assembly), national contact person 'EASA' is an European organization providing 14 days annual workshops for 400-500 architecture students from more than 42 European countries. The assembly takes place every summer in a chosen European country. As an active member of EASA and National Contact representing Hungary, I was in charge of the Hungarian participation in the events, planning, improve the international network, administration and budget management. 2012-2016
INCM (Intermediate National Contact Meeting) in Madrid, Glasgow, Berlin and Bucharest The meetings are crucial for keeping the continuity of the events held, 100 national representatives gather from all European countries annually. We decide then the next location for the next summer events, themes, and hold discussions on the future of the organisation 2014-2016
Budapest Architecture Student Studio It is the architecture students' association in Hungary, in which we organize events, lectures, discussions and workshops that expand the less flexible academic studies with new cultural and architectural input. Study trips to major exhibitions are as important as creating a network for students and an informal platform for actors in architecture, arts and engineering. 2014-2016
Ludwig Museum of Contemporary Art, Budapest At mediation in the museum, connecting with the visitors, helping them and evoking debate and intellectual discussion around the exhibited artworks. 2012
01 NEVER WORK! HOUSING FOR THE UPCOMING CHANGE Academic work / 2019 / Francisco Aires Mateus and Joaquim Moreno
N 1
e travaillez jamais! – says the graffiti on the wall of the rue de Seine – by the French situationist, Guy Debord. This was the title of my thesis. Why? Because people are going to lose their jobs. Is it such a problem, though? Quite in a nutshell, our daily routine comprises three elements: work, leisure and sleep. Emphasizing the importance of work over the other two is a recent development in the history. This imbalance is the legacy of Industrial Revolution. Since then we compartmentalize life into work and nonwork. Before, the amount of time spent with working was for survival, and it blended with family time, religious celebrations – and play. After, work lost its playful attributes, and now it is worshipped over any other kind of activities, we are always available,on the clock, checking e-mails etc. Work takes bigger bites out of one’s day. Yet, we are on the verge of a technological and societal upheaval that questions everything about our thoughts on work. Inequality rises, middle-class is disappearing, the next generation cannot rely on the promise of living better off than the previous one. Not to mention the perils of automation, artificial
intelligence. So, work, employment, bullshit jobs can no longer be the measurement of success, and it sure does not give meaning to one’s life. I argued for a society in which universal basic income (UBI) would come as a tool. It is free money, yes. But it’s not a reward, it is a compensation for not having jobs for everyone. Though a world without jobs should not be a world without work. So, how does this translate into architecture? Opinions are difficult to turn into shapes. Common sense dictates younger ones are happy to live dense, they are flexible, they are resilient to harsher conditions. The British Pavilion in 2016 Venice Biennale exhibited a very on-point and ironic translation of current society and the housing crisis. I took the example of Assemble, a British loose group of people, whom happen to be mainly architects. They are pioneers to the extent to which they are part of the current system, yet they apply new depths and layers to the practice of architecture. Their method is less about the finished object than it is about the series of actions by which a space is designed, constructed and inhabited. They put aside the paper and do, they build prototypes 1:1 and learn from mistakes.
Physical context model 1:500
2
LISBON PORTUGAL
38°43'46.0"N
9°07'54.7"W
3
Public access strategy in masterplan Above the city, in this Acropolitan situation sits the convent and church of Penha da Franca. Currently, the convent is used by police, the church does not have access to it. The location is inaccessible to civils, yet it is the highest point of city, almost giving an 360° view. That is why I try to provide as much access as possible back to the people.
4
Floor plan of public/shared spaces Designing for change means there is some wiggle room, for numerous possible activities for the future generations. Rather than using the term form follows function, they proposed form should accommodate functions.
5
Schematic site plan The square of the church and convent is defined by the volumes of my intervention, creating a classic piazza with an open side towards the city.
6
Schematic sections
7
8
Main section The section shows the dramatic landscape, the different levels of the street and convent. The connection is done through gradual climbs and thus creating different public and semi-private open spaces.
9
Visualizations The images show the public inner courtyards, the highlighted routes and the main access and functions on the street level respectively. The design choice of relatively empty facade towards the street embraces one to climb the ramp, to evoke curiousity.
10
“The glove is shaped to hold each finger, and gloves are graded by size. The mitten limits hand movement to grasping, but it allows wiggle room on the inside and can fit a wide range of hand sizes. Should buildings be designed as mittens rather than gloves, to meet generic rather than specific definitions of function? In a mitten-building, some program elements of today may sit a little less well, but these are likely to change even before the building is constructed. In many projects, sacrificing some adherence to the specifics of present programs may be worthwhile for the flexibility this offers the future.” - Denise Scott Brown, Robert Venturi “The Redefinition of Functionalism,” Architecture as Signs and Systems: For a Mannerist Time p. 153
Visualization The different levels of thje courtyards create different connections and accesses to workshops, shared spaces etc. The living spaces are only to be found on the toppest levels, where empty duplexes represent the adaptability to change.
11
1. Gravel (light limestone) 2. PVC waterproof membrane 3. Faced insulation, 10cm 4. Inclination layer in light-weight concrete, >7cm 5. Reinforced concrete slab, 20cm 6. False acoustic ceiling system 7. Inclined stone closure element, 2% 8. Reinforced concrete bearing wall, 25cm 9. Thermal insulation coated black, 8cm with 4cm air gap 10. Exterior limestone facade element, 4cm 10a. Limestone, visible corner block, 10cm 10b. Limestone facade element glued, 3cm 11. Rectangular sectioned steel profile spacer, 50x100x4mm 12. Shüco AOC 50.TI curtain wall system 12a. Shüco AWS 75 BS.SI triple glazed window system with EPDM vapour- and airtight membrane 13. Triple glazed glass 14. Drip edge, window drainage and maintenance 15. Foam insulation for sealing the thermal continuity 16. I180 beam for possible slab extension 17. Pre-cast "forehead" limestone façade element 18. Plaster box covering for structural steel beam 19. Rectangular steel profile spacer filled with foam thermal insulation, 280x100x4mm 20. Spacer and leveling pads, 20x20mm 21. Pigmented concrete slate slab 23. PVC waterproof membrane 24. Faced insulation, 7cm 25. Inclination layer in light-weight concrete, >7cm 26. Reinforced concrete slab, 20cm 27. Interior thermal and acoustic insulation, 10cm 28.Reinforced concrete beam, 26x20cm 29. Stainless steel safety railing, with 12cm spacing 30. L-profile steel element, fixing the railing to reinforced concrete beam,150x80x4mm 31. Exterior ACO Slabdrain system 31a. ACO Powerdrain 200mm drainage system 32. Hanged false ceiling system, fixed distance hangers, 42cm
12
Visualization The image shows the building's orientation towards the city beneath. The gorund floor(s) are publicly accessible, comprises services and workshops, while the levels abovea are the living spaces. The spaces have their own, individual balconies, but behind there is absolute freedom. Instead of furnished homes, the tenant gets a couple of cubic-metres.
02 A HOME IN NOWHERE FIVE SPACES FOR FIVE ART PIECES Academic work / 2017 / Francisco Aires Mateus
A
13
home in nowhere? It was a wicked excersice, no context, nothing to rely on, except for the five art pieces. They gave a good measurment. A piece from Richard Serra being 3 meters tall and 9 meters long. Or a Mark Rothko, 3x3 meters, it certainly dominates any space. But what kind of space? Compressed, or a triple-height gallery space? That created the excitement of the work. The other pieces were from Gerhard Richter, the supposed self portrait of Jan van Eyck and Masaccio's unfinished altarpieces of Saint Jerome and John the Baptist. As one can see, they vary in dimensions, size and come from different eras from early renaissance to contemporary works. So, first the art pieces had to be studied, what their messages are, what they represent, and most of all, where do they go in a household.
The other aspect was the lack of context. One must design something that fits anywhere, but most importantly, it creates its own world that works without the outside. That is why I chose a screen, a bubble. This layer serves as the control and direction of light, while the inner world has the freedom, the roaming around the spaces. The screen creates the first and main space, for the Serra piece. The other spaces are stacked upon each other towards the more private functions. For this, I analyzed the Japanese vertical row houses, the narrow, but tall plots and Sou Fujimoto's N house, in which he controls the spaces inwards as houses inside of the house. Yet, he still manages to accomplish that the house feels completely open and transparent.
Conceptual concrete model 1:100
14
Section | Floor plans The 15x15 meters cube serves as a screen, controlling the incoming light, creating the atmosphere. The spaces themselves are stacked on each other. The challenge in representation was the lack of context, so it sits in the middle of a street.
15
16
03 UP/SCALE/DOWN NEW URBAN FABRIC THROUGH HOUSING Academic work / 2017 / Nuno Mateus and Pedro Reis
M 17
ost buildings and streets in the area of Mariaberget are from the 18th century. It is the northern edge of SÜdermalm island. The urban area is uniquely incorporated into the hilly landscape and Monteliusvägen offers some of the most amazing views in Stockholm, with Gamla stan in front. While the buildings are beautifully preserved, along with it the increase in population, the surrounding areas are showing a disproportionate increase in population density, thus the urban environment. My project block is on the edge of both settlements. One side of the street comprises the suburban, early settlement with lots of green and individual houses, while the other side is already overcasting shadow on
the former. The urban blocks consist of midto high-rise buildings, therefore the change in atmosphere is sudden and dramatic. While the urban area is uniquely incorporated into the hilly landscape, my project serves as diminishing the cut between the urban and suburban. The disharmony cannot be levelled by increasing the density in the historical area; thus the only solution is fragmenting the urban block. The volume is stepping down and fragments towards the houses from South to North. Scaling down the wall-like urban row upscales the communication. Eventually, the volume itself acts as the connection, introducing a new, more harmonious, an in-between scale.
Site plan of Mariaberget The fishbone-like urban typology gave me the idea to develop the further fragmentation of the classic, closed from 4 sides urban block. If the whole element of the block becomes fragmented it serves as the visual connection to the 18th century, more open settlement.
18
STOCKHOLM SWEDEN
59°19’12.2”N
18°03’44.0”E
19
Concrete model of inner Stockholm 150x150cm In Sรถdermalm one can even find several different styles within the same district. The project area called Mariaberget on the northern edge of the island.
20
Panorama from Ivar Los park Even though many of these original houses were renovated during the following century, their architectural and historical value is indisputable. So is the attractiveness of the views of the Gamla stan and Riddarfjärden
21
Axonometric view The housing complex sits on thick pillars to free the lower levels. The building itself is made of prefabricated ferroconcrete covered in insulation and pre-casted pigmented concrete panels.
22
The idea was to find a way to create a development connectionVolume between the urban context and theboundaries suburban.ofThe housesblock, in the urban From the rigid the current there is ancast opportunity to lift the volumes, freeing the lower levels. The byproduct shadow onupthe suburban houses, it isofasubtracting fromfine the general are thedisharmony green roofs. in sharp, line mass creating scales and characteristics of buildings right next to each other. The urban block basically acts as a wall. The wall should be downscaled, therefore upscaling the whole situation, handling the typologies and creating a communication with the two
23
Floor plan 1st floor The grid and high ceilings allowes the building to survive many changes, providing multiple, very different uses of the same building.
24
Floor plan 3rd floor There are to be two floors with two units each, followed by a duplex unit spanning the fifth floor and the set-back, or penthouse, sixth floor.
25
Main sections Above and beyond the classic, standard ratio, the mostly glass façades significantly enhance the quality of the building’s uses, which benefit from an abundance of natural light and views.
26
Faรงades The rigidity of the faรงade provides a predictability, yet the subtraction makes it playful.
27
Parallel view showing the gradual downscaling of the volume The commercial ground floor includes part of the 1st floor; its slightly different treatment indicates its urban character.
28
1. Vegetation for extensive or intensive green roof >20cm 2. Geotextile filter and drainage 3,4. Pigmented concrete slate slab on pads 5. PVC waterproof membrane 6. Faced insulation 7. Inclination layer in light-weight concrete >7cm 8. Reinforced concrete slab with pigmented layer on the bottom 9. Safety glass railing 10. Pre-cast pigmented concrete roof element 11. Thermal insulation 20cm 12. Reinforced conrete bearing wall 13. EPDM vapour- and airtight membrane 14. Dinensen sill and trim solution 20x2cm 15. Shüco AWS 75 BS.SI triple glazed window system 200x240cm 16. Window drainage and maintanance 17. L-profile spacer 50x70x4mm 18. Pre-cast pigmented concrete façade element 19. Dinensen Natural oak flooring 30x225mm 20. Timber padding 45mm 21. Acoustic insulation 65mm 22. Shüco AOC 50.TI curtain wall system 23. Triple glazed glass 24. Exterior ACO Slabdrain system 25. Pigmented concrete pathway 26. Waterproof layer 27. Reinforced concrete slab 20cm 28. Interior thermal insulation 10cm in parking space 29. ACO Powerdrain 200mm drainage system 30. Street pavement
04 THE LIVING BOOM EASA NOT YET DECIDED International worksop / 2016
A
29
pier is a dead end. How can one change the ‘end of this long path’ and celebrate its end as a new space? Being already set into boundaries on three sides by the element of water, the start of the project was to construct a fourth wall that creates a new space. As one walks along the pier, approaching the wall in the middle of the plain landscapes of lagoon and sand dunes, one yet has to find out what the space behind the wall offers. Only after physically walking through, one can see and grasp the new space, with furniture shining in red, generating an unseen space in the middle of water, sky, sand dunes and forest. Being five meters tall, the wall is the most striking element of the new public space. Built as a timber construction, fixed into the
concrete floor by metallic bolts and planked with long thin wooden elements, the wall is generating the border between the in- and the outside of The Living Boom. Having been part of this project I had the opportunity to work on a bigger scale installation with a tight deadline of just 2 weeks. The heavy construction, the distribution of materials, the organization of people and tasks are all based on heavy calculation. Working hard on a project that everyone believed in is simply breath-taking. Especially, if one considers the final installation being used by local fisherman, tourists and everyone passing by starts asking about it. Usually, the workshops, pavilions and installations are temporary, experimental, to test out different hypothesis, but in this case it was meant to be permanent, and it is.
The pier, the wall and the living room The Living Boom provides a public space, focusing on the main attraction of this region, its vast nature of lagoon, sand dunes and forest.
30
NIDA
LITHUANIA 55°17’54.2”N
21°00’02.6”E
31
Constructional development Built as a timber construction, fixed into the concrete floor by metallic bolts and planked with long thin wooden elements, the wall is generating a penetratable border between the out- and the other outside.
32
Joints and structure in place
33
The space behind the wall The space is fitted with local furniture from the Soviet era which have been adapted with new elements to allow further functions. This public space offers a three-meter-long table, multiple benches with different characters, a fireplace, a giant wooden chair.
34
The pier and the wall Still standing strong. After 3 years. See more about the project at archdaily.com
05 SUSTAINABLE SOCIAL ENVIRONMENT SOCIAL REHABILITATION IN A RUST BELT Academic work / 2015 / Tamรกs Varga and Mรกrton Nagy
I
f we think in terms of sustainability, we need to consider finances, the environment, and social factors. Approaching the issue from the aspect of materials and technology, efficient energy includes a return of investment costs on the long term as well as sustainable, lower-energy requirement structures that are sustainable from the environmental aspect. The main aspect in our case was the sustainability and security for future tenants.
35
The design produced several basic model apartments that could be rented out to low-income families: small, one-room homes offer a housing solution for singles or retirees, while families with children or other larger households would be provided with multi-room facilities. Not allowing entire blocks for low-income families to be created is another important sustainability GROUND FLOOR: traffic HUB, market and services UPPER FLOORS: offices
criterion. The threat of segregation needs to be avoided and every design was focused on including home units for multiple target groups in each block, so that the housing community remained sustainable on long term. In this project I was lucky to experience the good group dynamics, in our team everyone could immerse in their strenghts, yet we could fully rely on each other. Asking questions, a.k.a. the analysis led to a successful final project. As common ground, we started with a SWOT analysis, which showed the strenghts of developed infrastructure and public transportation. Yet, there is a huge lack of green surfaces, and with the relative closeness of Danube, the area feels cut off from it. The opportunities show the use of future investments in the area, but could come with over-usage and pressure on the now suburban settlement. CULTURAL CENTRE
RENTABLE YARDS
SUPERMARKET SPORTS HALL
Axonometric view An intermodal junction planned for the near-by metro station and the circular rail line was the trigger for us to respond to the problems of the area with a comprehensive proposal that viewed the block in context and was oriented towards the future developments in this part of the city.
36
BUDAPEST HUNGARY
47°33'28.1"N
19°04'58.7"E
37
SUMMER: the stack effect will ventilate the air in the apartments
WINTER: hot air collected in the chamber will be pushed into the apartment by a fan
with a southern orientation heavy duty batteries can provide up to 60% of energy requirements
hybrid operation biomass furnaces will provide heat to save up to 44% of heating requirements
roofs hold tanks to collect rainwater for cleaning, flushing and washing purposes and underground cisterns are for watering
recycling system in every block and waste collectors on every floor
Technical features | Layout development The roofs will hold tanks to collect rainwater, solar panels, and air collectors, while hybrid operation biomass furnaces will provide heat to the buildings in a sustainable way.
38
Site plan
We considered building in a spatial context shaped essentially like funnels. The public spaces have services running along their verges, creating two oblong axles designed in such a way that they allow the sun to reach the apartments that are grouped around the courtyards.
39
Sections | View from the walkway
40
Visualization | Faรงades
ENGINEERING
SEMI-PRIVATE BALCONIES DINING AREA OPEN TO THE WALKWAY
PUBLIC AND SERVICE AREAS
PRIVATE OR COMMUNAL OPEN SPACES
ELEVATED INNER COURTYARD
SLIDING SUNBLOCK SHADING
PARKING LOTS ON GROUND FLOOR
41
In total, there is a sum of 329 units designed, of which 26% small scale units (30 m2) are provided, 50% is medium (45 m2) and 24% of them are large ones (65m2).85 small units. These are 85, 164 and 80 units respectively. The units are pre-casted and can be placed next to each other in any given fashion. The ratios chosen represent and embrace the possibility of social mobility within the block. The mixed combination provides little to no segregation in our analysis.
Perspective sections | Combination of units
42
Visualization project published in ‘REPLAN Innovative Solutions to Urban Housing Challenges’, can be found on issuu.com
06 THE TING EASA LINKS International workshop / 2015
T
he Ting. Yeah, just like the Ting Tings. Because it is a musical installation, a music box that will play meldoies when the wind blows. A music box is a musical instrument in a box that produces notes by using a set of pins placed on a revolving cylinder or disc to pluck the tuned teeth of a steel comb. Combine this with wind power and you've got a wind-powered, human-scale music box. Easy as that!
43
Unfortunately, there was no wind in August in Malta. So we took the initial idea to the participants of the workshop, and we collectively redesigned the installation, back to the manual solution. Construction began, and the box was standing. Now we just have to upgrade it with music. That was a tough one too, but we had fun, we managed to finish the installation on time, people loved it, even though it didn't sound exactly like the well-known ATC - All Around The World.
Was the workshop successful? All occurrent problems put aside, through organizing a workshop, I could understand how time is relative and no process is relative, it required a lot of flexibility to finish the installation, and that made me learn a lot from the mistakes we made. With little to no risk situations of the work, the complexity and challenge lied in the organization and communication. We had freedom to sort things out by making trials 1:1, showing the participants how to work with heavy tools etc. After all, from the feedback of participant and visitors, the project was definitely a success.This was a temporary project to learn and try, to test out different ideas. The real magic here was once again not the finished project itself, but the operation of the collective. Managed to communicate ideas, translate them into a project, whatever it to be. People relied on me, and I could rely on them.
Photo of finished pavilion in the fortress
44
VALLETTA MALTA
35°53'54.7"N
14°30'22.7"E
45
Provisional 3D representation
46
The music box standing proud and queenly
4
1 4 3
2 1
1
3 47
Components of the installation
48
Details of the music box
07 DEMOLITION EASA WASTELANDS International workshop / 2012
D 49
esign, construct, demolish, document. How would you design and build a structure for the main purpose of demolishing it? The aim of the workshop Demolition was to elaborate on the above question, through the undertaking of design, construction, demolition and final documentation. The workshop was conceived as a hands-on workshop, where we based the design of our structures on the demolition elements: fire, wind, water, gravity etc. The documentation of the design and demolition process was represented through drawing, movies and photo-sequences, exhibited together with the demolished structures at the end of EASA2012. The theme ‘Wastelands’ and the site for EASA became the testing ground for the demolitions. The Wastelands are
interpreted as leftover-spaces between deterioation and new assemblies- a threshold in-between the built and the demolished. The aim of the workshop was to build structures, and design their demolition, to stage and aesthetically portray architecture as a cycle of creation, living, decaying and dying. As the first ever international workshop I attended, EASA012 gave me the opportunity to meet new friends, people to learn from, understanding different mindsets, approaches, languages effecting our thinking, living in a commune, belong to a bigger thing, to sacrifice for the community. And by the way, we had fun, a lot. More to see on vimeo.com
Photograph of streched nylon The nylon appears fragile. But it resist the heaviness and take shapes that fight its own destruction. It’s stitched and woven nature is displayed through the machines slow spilling of load, showing the limits of the nylons.
50
HELSINKI FINLAND
60°11'10.4"N
24°58'16.3"E
51
52
petomarton91@gmail.com +351 935861382