Modern Villas by Lajos Kozma
On the anniversary of Lajos Kozma's birth, we continue the exploration of Hungarian Modern movement.
By Museum of Applied Arts, Budapest
#Lajos Kozma #Modernism #architecture #Modern movement
Villa Klinger (Budapest), perspective - southern and eastern facadesMuseum of Applied Arts, Budapest
Lajos Kozma, a prominent figure of Hungarian architecture and applied arts, was born on 8 June 1884. On the anniversary of his birth, we continue our exploration of early modern Hungarian architecture by taking a look at his designs for villas in the 1930s.
Villa Veres (Budapest), perspective - northern facadeMuseum of Applied Arts, Budapest
In Hungary, suburban houses became popular again in the 1920s, with many people embracing a healthier and quieter lifestyle that villas close to nature offered.
Villa Magyar (Budapest), perspective - southern and western facades (variation)Museum of Applied Arts, Budapest
Such houses that were built in Budapest on Rózsadomb, Pasarét and the southern slopes of Gellérthegy with modernist inspirations were mostly designed by architects associated with CIRPAC (Comité international pour la résolution des problèmes de l’architecture contemporaine).
Lajos Kozma, who did not affiliate himself with CIRPAC, can still be said to have belonged among these designers as someone who espoused, and used in his work, the principles of modern architecture. Currently, we are aware of seventeen single and multi-home houses that were designed by Kozma and built in Buda after 1930.
Villa Magyar (Budapest), plan of the second storeyMuseum of Applied Arts, Budapest
The floor plan, which was derived from an in-depth analysis of functions and was based on an assessment of the client’s lifestyle and the surroundings of the house to be built, determined the structural design of Kozma’s houses—organized, as it were, the entire design process.
Kozma stressed that new technologies—especially reinforced concrete structures that could bridge large spans—removed old constraints from the floor plan and made it possible to reimagine the entire structure of a house.
Villa Klinger (Budapest), archive photograph - southern facadeMuseum of Applied Arts, Budapest
However, he confined the use of reinforced concrete to horizontal load-bearing structures, slabs, lintels and cantilevers, and did not employ it for walls.
Plan of the Villa Klinger's living quarters
In his designs, Kozma took great care to divide the spaces into function groups and to make access between the latter as short and practical as possible.
(1-main entrace and hall; 3-living room; 4-dining room; 5-side entrace; 6- laundry, 7-kitchen; 8-servant's room)
Villa Klinger (Budapest), archive photograph - living roomMuseum of Applied Arts, Budapest
Living room of the Villa Klinger
He ensured the rooms had adequate illumination and ventilation, and even designed functional furnishings.
Villa Fleiner (Taszilópuszta), perspective - southern facade (variation)Museum of Applied Arts, Budapest
Though Kozma was an advocate of direct access between the living spaces and the garden, he could rarely put the principle into practice because most of his houses were built on sloping plots.
Villa Gellért (Budapest), perspective - southern and eastern facades (variation)Museum of Applied Arts, Budapest
Basements were a logical feature on these plots, and they accommodated the servants’ quarters, garages and other utility rooms. In many of his houses, he designated a room in the basement for the use of the family, to provide direct access to the garden.
Plan of the Villa Havas's living quarters
In Kozma’s design philosophy, the multifunctional living room was a key element in organizing the floor plan (see 4th, 6th and 7th room).
This room, which admits the view and sunlight through its large windows, may account for as much as 45 to 50 percent of floor area in his larger villas, often being larger than 100 square metres. It is usually complemented with a terrace—sometimes combined with a conservatory—accessible through sliding doors.
Villa Magyar (Budapest), interior design for the living room (variation)Museum of Applied Arts, Budapest
Designing the living room was an opportunity for Kozma to play with space.
He found avenues for his innate playfulness in the differentiation of functions, distinctive spatial forms, mobile dividers (curtains, pocket doors) he used to achieve different spatial effects and views, vivid colours and the variability of the furnishings.
Villa Szegő (Budapest), design for dinning table and chairsMuseum of Applied Arts, Budapest
Almost every one of his living rooms features the following furniture ensembles: a dining area with a draw-out table and six upholstered or caned armchairs,
Villa Szegő (Budapest), design for a low cupboard with display cabinetMuseum of Applied Arts, Budapest
and a series of wall-hugging cabinets that include small tower-like glazed display cases.
Havas Villa (Budapest), interior design for the living room (inv. no. KRTF/548.)Museum of Applied Arts, Budapest
The study corners typically included bureaus and parallel rows of bookcases.
Villa Szegő (Budapest), interior design for the living room (variation)Museum of Applied Arts, Budapest
The dynamism of the space form was emphasized by individual seats and small pieces of furniture, placed freely and imaginatively between the static and built-in elements, positioned alongside the walls to maintain the sense of spaciousness.
Linoleum-covered writing desk - desing for linoleum-covered writing desk (inv. no. KRTF/6115. )Museum of Applied Arts, Budapest
The different coverings played a very important role in Kozma’s interior designs. Linoleum, for instance, was not only used on the floors: this durable and easy-to-handle material was also employed to cover wear-and-tear surfaces on furniture.
Havas Villa (Budapest), archive photograph, detail of the living room (inv. no. FLT/14449.)Museum of Applied Arts, Budapest
In the Havas Villa, an early design, the floor of the large ground-floor reception room, the hallway and the dining room, as well as the small entrance hall, were given a continuous, greyish-green linoleum covering.
Havas Villa (Budapest), drawing of the bathroom (inv. no. KRTF/553.)Museum of Applied Arts, Budapest
Glass was another material Kozma was very fond of. In the bathroom of the Havas Villa, the walls, the niches and the fronts of the bathtubs were clad in sheets of yellow, black and white glass.
Kozma also designed the furnishings of almost all of his houses. To all intents and purposes, they were ‘all-art projects,’ painstakingly designed down to the last detail. In addition to designing furniture, heaters and light fittings, he took it upon himself to select other furnishings as well.
Havas Villa (Budapest), interior design for the living room (inv. no. KRTF/546.)Museum of Applied Arts, Budapest
Kozma also took great care to furnish the rooms in a practical way. He was most interested in designing convertible, multifunctional furniture, and some of his storage pieces are wonders of functionality.
He was intrigued by the use of tubular steel furniture, this symbol of modernist interior design. As early as 1929, he designed a tubular swivel chair, whose form is strongly reminiscent of ones created by Le Corbusier and Charlotte Perriand.
Two-flat house (Budapest), Two-flat house (Budapest), (1932) by Lajos Kozma (architect)Museum of Applied Arts, Budapest
See also the first part of our series to learn about the general characteristics of the architecture of the Hungarian Modern Movement.
by Éva Horányi
editor: Sarolta Sztankovics
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