Category: Shopping centres
ALLEE SHOPPING CENTER

BUDAPEST - HUNGARY

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120x60, 120x30 Travertino Bianco Perlato Honed
60x30 Travertino Bianco Perlato Polished
60x60, 60x40, 60x20, 60x15 Jewel Gem
60x15 Jewel Shine
60x60 Jewel Eclipse

Year: 2009
Square Meters: 47000

A place of contrasts.
Immaterial crystalline trasparencies interrupt, giving space to the material opacity.
An irregular pattern of spatial breaches, approaching regular patterns marked by a regular orthogonality, design, with geometric incisions and a weave of broken lines, the exterior shell of the Allee Shopping Center, realized by Finta studio in Budapest.
Sequence of virtual planes, the sides of the volumetric prism redefine the urban skyline.
A continous and alternatedm play of contrasts, the shopping center looks like a series of elements made from material physicality and from opaque rigidity, containing the space with an ethereal duality defined by organic and rational geometries.
Urban cluster, the new commercial hub, is the aggregation of six distinct architectural bodies connected by a covered square, center of gravity at different levels, naturally lighted from above through a glass overhanging roof.
Protagonist of the urban scene, in the most densely populated district of the Hungarian capital, the great business “container” is the symbol of the city’s development and evolution.
Urban and social accelerator, it makes up a complex system intended to be a central hub, point of exchange, aggregation and inter-action tied to
the confluence and concentration of different activities and functions. metal, glass, brick and stone are combined in the organic theme. Linguistic accents, unrelated to each other, converge in the individual uniqueness of the architectural organism, in turn an aggregate of volumetric masses, identity-creating and different, autonomous and dependent, contrasting and consistent.
The resulting spatial configuration is an antithetical composition similar to a discrepant puzzle of objects that conform to each other in a
perfect fit.
The apparent figurative-creative error is the fundamental characteristic of an architectural device, piece of a city commemorated in its
distinctive characteristics. In the spatial poetic of a literary imaginary, interpreted in alternate and discordant heterogeneity, palaces and public buildings, residences and monuments, squares and streets become the artist-architect’s color palette, from which to draw on in the configuration of the material masses of chromatic fields on their “canvas”.
City metaphor, the commercial structure is part of a strategic area, the confluence of different axes, accessible by the synergistic and co-existing realities of Pest and Buda.
This area belongs to that part of the city affected by the New Urban Local Plan (kSZT) which involves the insertion of new buildings and
vehicular and pedestrian roads, squares and green spaces with new routes and transport links. The rigorous lot square engages the city’s fabric as
an insert whose margins are cut out from the main thoroughfares.
The development plan is interrupted in its own rational orthogonality.
The veiled spatial hierarchy is generated by flowing curvilinear geometry that insinuates itself into the plan, breaking the internal space into two
interconnected parts by way of a hub-fulcrum made up of environments that intercept the pedestrian flow along the building’s largest dimension. The four above ground levels contain retail areas with shops, restaurants, cafes, as well as function rooms for screenings and exhibitions.
In the central pivot, distributed over three floors, are side recreation function areas.
At the lower levels have been located warehouses and parking lots on three underground levels. Accessibility is ensured with an underground road system designed to balance and streamline vehicular and pedestrian flows. Outside the walls there appear Terragni’s rationalist recollections and linguistic accents typical of Aldo Rossi’s city architecture, conversant with high-tech connotations, flashbacks of the Centre Pompidou, of Libeskind’s figurative dynamicity and Lucio Fontana’s spatial concepts.
The façade’s succession of consecutive portions is a patchwork of rhetorical and literary stylemes, as if re-stitching the façades. Inside, a sort of massive eye that looks at the sky through the transparent roof, performs the role of core that unites and holds around it the shopping and
sales spaces at different levels, similar to a covered street-market covered.
The pedestrian access from the square outside accompanies visitors to the heart of the central hub, where a number of recreational settings are organized on islands: coffee shops, concerts and show areas and, on the upper floors, space for screenings, casinos, and a fitness area.
The roof becomes instead a raised green space with gardens open to the public.
The multi-functional space, where shopping and entertainment get
transported in an air conditioned environment, is the alternative to the traditional view of public areas, that in the past served the role of public meeting place where the cultural exchange and social relationships took place: street and plaza.
The appeal of the urban place seems to have taken shape in Allee Centre’s architectural design.
Technology reinterprets the façades according to material and color heterogeneity, present in the physionomy and physical features of the city, through the red brick, titanium-zincaluminum alloy sheets, dark tinted glass and chalky limestone.
A variety of finishes have been applied even in the interior coverings. In the galleries leading to the sale and exhibition spaces gres porcelain GranitiFiandre Travertino Bianco Perlato and woodstone Collection Porcelaingres wengé color were used, while in the service areas the GranitiFiandre Jewel Series was used.
The image of the covered-market or city-outlet is paraphrased in an film edit that tells of the addition of buildings around a spacesquare.
Visible from the esterior is the presence of distinct architectural units arranged in the configuration of a new urban fact, aphorism of the contemporary city, a place of contradictions, fragments, contrasts and conflicts.
The interaction between the rule and chance is transformed via the great shopping edifice into desired artifact and convergence of distinct entities.


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