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After its successful restaurant in Budapest, Makery opened its second unit in Vienna: the interior design concept of the franchise, based on an innovative community cooking experience, was created by este’r partners. With the cooking experience in focus the rough brick cladding, plants and a high level kitchen technology create a welcoming environment for all guests.

“The key word of the lively Budapest team is success so we were happy to further develop Makery’s original idea and its design solutions; now it’s a concept that can be turned into an international franchise. They give all guests a sense of victory while forming a community and knowing exactly that this requires a cozy, casual interior where premium kitchen technology and professional environment help to relax.”

The Viennese restaurant is in a populated area close to the city center. The location of the corner building, the interior and exterior spaces offered optimal conditions for the design team: their interior design solutions were created by optimizing local conditions. The characteristics of the rough brick wall and the Prussian vault, the features of the exterior doors and the bar counter were emphasized adding the image of Makery’s strong brand.

Tuned to success: cooking experience in focus

Makery is primarily a venue for meeting friends, co-workers or organizing family events. According to the owners’ idea, guests can prepare their dishes or even an entire menu cooking together and using the given ingredients on the basis of instructions, what’s more they can eat the meals together. The interior design concept required a well-thought-out spatial organization as every small movement and step taken can be significant in the cooking process, while a poorly placed drawer or counter could significantly worsen the experience.

Stable cooking base, enough space

The team of este’r partners organized the space around functionality: while the strict location of the cooking blocks suggests stability, most elements in the restaurant can be easily moved or converted. Designers had to pay special attention to the fact that guests work with chopped ingredients and lots of kitchen utensils, yet these details need to be structured in the space so that even less experienced chefs don’t get lost in the equipment jungle. The discreet presence of rough brick cladding, simple-lined furniture, Italian tiles and flooring allow guests to focus on the cooking activity and the community experience.

Cozy welcome, fresh experience

The design team focused on a cozy and relaxed arrival experience. Guests can wait for their team at the bar counter; this reception area provides a great place for guests and staff to meet and connect. The calm atmosphere is enhanced by the characteristic Makery color scheme: the meeting of yellow-black colors, the use of natural materials and solid wood, and the atmosphere of industrial buildings is also present. Pleasant and warm lighting and large brick walls boost the casual atmosphere.

Increased hygiene

Adherence to hygiene guidelines both in the preparation areas and in the front of the house were utmost important while creating the interior design solutions. Surfaces can be cleaned easily and quickly, trash cans can be opened with a pedal, almost all surfaces can be washed and easily maintained. It was an important request of the client that different groups could cook separately and at a distance from each other. The spatial organization creates an airy, never-crowded space even in case of side-by-side kitchen workflows.

Metropolitan design, local flavors

An important part of the Makery concept is that it also provides a unique experience for visiting tourists, who can try the preparation of local traditional dishes with professional help. All nations feel warm and comfortable in the metropolitan, fresh design, and the interior design solutions also allow for international adaptability, ie franchise expansion opportunities.

The interior design team of este’r partners has brought the fresh, vibrant interior of the restaurant in Budapest to the Viennese one. The popular and well-tried interior design solutions are now available in a new location. The alternation of the visible industrial elements, the geometric lines and fresh design add a lot to the community experience. The space is modern, cozy and natural, making guests feel that it’s good to be here and great to cook together.

Interior designer Eszter Radnóczy and her team of este’r partners created an elegant, unique architectural and interior design concept for a client on an international project. The studio, in collaboration with her Milanese partner, the renowned Italian architect Stefano Napolitani, founder of Waves Project Ltd., designed a three-part building with stone porcelain cladding with matching, restrained but special interiors.

“We introduced a plan to our client in which we worked with generous spaces where the unique architectural and spatial experience are both very important. The building, which becomes mysterious with a level shift, a hidden garden and stunning interiors, is at once clean, contemporary, but fully personalized,” says Eszter Radnóczy.

The characteristic element of the house is the ventilated stone porcelain, which is used as both a roof and a facade cladding, wrapping the entire building without a break or split. Windows and doors placed in the roof angle continue downwards, connecting the three parts of the building by a glass staircase. The generous stone porcelain cladding also provides high-quality, unique technical solutions, such as rainwater drainage or shading was also a serious challenge.

The house is based on the harmonious alternation of enclosed and open spaces and this continues outdoors as well: while the upper garden communicates openness and is a warm space perfect for gatherings and welcoming guests, the deep garden is a more private, mystical and cozy oasis. A particular feature of the house is the spectacular but intimate overflow pool: this and the study, related to space, are both a spot for relaxation, reflection, focus and silence.

The house is built on a triad of stone porcelain, natural stone and wood, designers followed the tone-in-tone principle. The style of the whole house is uniform, its color scheme is soft and sophisticated. Wood paneling appears everywhere, but as an inverse solution. The recessed garden level and the ground floor, for example, were given cold flooring, the same as the outdoor facade, bringing outside and inside living together.

KITCHEN AND LIVING ROOM

The space division is consciously planned, the exterior cladding of the house runs in and continues along the longitudinal axis: based on the designers’ decision, only the perpendicular partitions were given a dominant cladding which is completely different from the outer walls of the house.

The high-tech kitchen is hidden behind the wood paneling: the infrared-sensing, glass-fronted Valcucine kitchen opens up supporting touch-free interactions and it is made with industrial technology but features cozy and well-equipped, ergonomically developed functions. The kitchen and its surroundings, because of the dominant ceiling and wall cladding, are optically detached from the living room. There is a custom-designed bookshelf in the living room, which hides additional kitchen tools and food preparation appliances on the back wall. The furniture and lamps are iconic design pieces that, in addition to the comfort functions, capture the eye with their design and sophisticated details.

BEDROOM

The huge wood paneling of the bedroom faces the glass wall. The bed is given a central role in the space, here as well the goal was to provide a space experience. With this solution, the designers provide a kind of floating feeling: the Poliform bed, the sofa, the Occhio lamps, as well as the suspended spot lighting are almost floating in the room. Behind the headboard there is a huge glass wall separating the bathroom foyer from the bedroom, which has a high end bathtub and a design washbasin.

BATHROOM

Italian designer, Antonio Lupi’s Dune bathtub was placed in that part of the bathroom which communicates with the bedroom, where it can softly slide into the pedestal. Its shape recalls that of dunes with a perfect design for relaxation. The free-standing, uniquely designed washbasin and mirrors shape the space and serve as room-dividing solutions, while all the necessary functions are included. The enclosed parts of the bathroom, the shower and the washbasin have been moved to separate rooms – these functions are separated by lightweight glass walls for letting light in. With the green wall, the garden experience is reflected in the bathroom.

CLOSET

The closet is custom-designed and was planned with the help of the Italian colleagues of este’r partners. The glass-enclosed cabinet sections have reflective gray glass, this gives the possibility of controling the visibility, depending on the intensity of the light entering the cabinet. The two central elements of the mirrored wardrobe are the island, richly and elegantly divided with organizers, which is more emphasized in the large space by the dynamic, modern crystal chandeliers made by Manooi.

Based on the design by este’r partners and Waves Ltd., every space and interior design feature of the house is detailed, coherent and has been carefully thought out. The whole house is airy: unique space experience, fantastic angles, and the garden beyond the glass walls provides a stunning look to the elegant building.

The former Buda Civic Casino reopens in the 1^st district of Budapest as the Sándor Márai Cultural Center: the building has undergone a careful renovation respecting its past and architectural values as a community and cultural centre, but also integrating new functions. The building was renovated by the plans of interior designer este’r partners (Eszter Radnóczy) in cooperation with architect studio Jassó Építészműhely (Sándor Jassó and Adrienn Bársony) while the consturciont was completed by Laki Zrt.

The headquarters of the Buda Civil Casino was built in 1893, according to the plans of Imre Francsek, sr. The casino operated on the first floor, with several lounges, drawing and games rooms next to the ballroom. There was a restaurant in the basement, several shops on the ground floor and three rental apartments on the second floor. In the corner shop on the ground floor there was first a beer hall, then a bank, later the confectionery of József Auguszt from 1901 to 1915, and in 1936 the Philadelphia café moved here. After the Second World War, until 1989, the building was the district headquarters of the Hungarian Socialist Workers’ Party (MSZMP), the Hungarian Young Communist League (KISZ), the Pioneer Association and the Workers’ Militia, with a hairdresser and a delicatessen on the ground floor. The latter operated under various company names until the start of the renovation. For several years, the Municipality of Budavár has taken steps to buy out the flats and offices when the building was split up and sold, and eventually the entire building became the property of the Municipality. During the measurements, the design team first encountered fragmented, divided, narrow and gloomy spaces.

From the beginning, the municipality of the 1^st district sought to save, renovate, and add new features to the building. The building is of architectural significance; its most important spaces, even after previous simplistic restorations, are the imposing first-floor ballroom and the main staircase. At the start of the design, the inner courtyard, the ballroom, the street façade were only faintly reminiscent of the original patina of the building. In addition to the functions and modern expectations that serve the needs of the cultural center, preserving, respecting and restoring of the existing values were all priorities throughout the construction.

The tower of the building was destroyed during the siege of Budapest in 1944–45, and its façade was severely damaged. The façade was restored according to László Lux’s plans in 1946, but the corner tower was not repaired, and the façade was completely denuded, including the intact parts. The restoration of the corner dome was a priority in the design process. The appearance of the corner tower is important not only outside but also inside the building. Both the performance hall and the dance hall have a great view from this point, from here we are able to see the church on Krisztina Square, the square and the Buda Castle.

A wall analysis was carried out before the construction began, during which it was visible that after the renovation of the façade in 1946, the entire façade surface had been completely re-plastered, so no fragment of the original architecture remained. We know the original condition of the façade only from archive pictures and postcards. The former segmentation of the façade of Krisztina Square and Alagút Street, the destroyed corner tower, as well as the main staircase and the ballroom have been restored based on historical and archival research. Unfortunately, there were not enough resources available for the complete reconstruction of the former detailed façade ornamentation.

From the beginning of the design, it was important that the historic restoration of the building is carried out by professionals with authenticity. A new space was born by covering the inner courtyard, which became the centre of the house, as it connects the current spaces. This area needed to be reinvented in terms of interior design.

The inner courtyard façade was plastered with a special stencil technique. Among the above mentioned solutions, the designers used a unique structured plaster solution in the façade decoration, which adds a subtle ornamentation to the new community space. The pattern of this is taking forward the idea of the original ornamental painting’s geometric pattern found in the ballroom.

The surface of the modern central parts is formed by a printed patterned Kerlite covering, which provides a unique atmosphere to the corridors, as well as giving the courtyard exciting insight and depths. As this surface is closer to the eye of the visitor, the pattern is richer in detail, it was possible to show the inner geometric stencil pattern in a more ornate way with the help of modern technologies. Applied decorative art was part of the graphic design, it intertwines with the sleek control system as a visual communication tool. The decorative art used was part of the graphic design it intertwines with the neat control system as a visual communication tool.

During the renovation, the building has returned to its original splendour. It can host artistic and community events and can be a remarkable centre of cultural life. Unique spaces and spatial connections make every moment festive during any events, classical music concerts, festivities, balls, weddings, exhibitions and other art performances.

Photos by Tamás Kőrösi