Ingrid Manhertz and Albert Manhertz jointly lead Space Buffet, the winner of the architectural competition. Their installation resonates with the event’s motto while preserving the historic atmosphere of Buda Castle. We spoke with them about their collaborative work, perspectives, and professional dreams. (A shorter version of this interview is also available in the printed publication Körkép, which introduces the exhibition to visitors.)
As cousins, how do you complement each other’s perspectives?
A: We are strong in different areas, and that is exactly what makes us such a good team. Ingrid is incredibly precise, developing projects down to the smallest details, while I tend to move faster, sometimes perhaps a little more superficially. However, I am usually the first to respond in the early stages, giving momentum to the process. Neither approach is perfect on its own; our shared path emerges from our differences. We can sense when to let something go and when it is worth pursuing further. Our mindsets also differ: we come from different university backgrounds, so we approach certain design situations from distinct perspectives. This always brings a new dimension to our joint work, as we think about concepts differently and can build on each other’s ideas.
I: This dynamic benefits both of us. When I slow down and repeatedly redraw something to find the perfect solution, Albert is the one who encourages us to move forward and keep progressing.
Ingrid, how did your experience with the Hungarian Pavilion at the Venice Architecture Biennale influence how you approach exhibition spaces today?
I: I was fortunate to join the team very early on. During the development process, it was particularly valuable to see how the designer’s perspective and the client’s requirements can be aligned in an exhibition. These two directions often diverge, and the task is to bring them onto common ground.
Another key lesson is that you always have to think like a visitor. You need to consider who sees what first, the route they take through the exhibition, and the layers they encounter along the way. Some visitors spend hours exploring, while others form an opinion in a single glance. In both cases, they must receive the same experience and message.
Since you brought it up, what kind of experience should visitors have when they first enter the 360 Design Budapest exhibition space?
I: I believe that from the moment of arrival, visitors should sense that not only the building but also the surrounding environment is an important component of the equation. Coming from the cobbled streets of the Buda Castle District, visitors are unlikely to expect an experience defined by high-tech materials and concepts, which is why the contrast carries particular significance.
A: Having said that, the main focus remains on the objects themselves. We are dealing with a very old building with multiple layers of style, into which we sought to integrate a concept that is cohesive rather than fragmented, guiding visitors along a clear path. Our aim was for the exhibition to harmonise with the space, without unnecessarily distracting attention, and to make clear from the very first moments what is happening. From there, visitors can move through the building gradually, unfolding new layers while their attention remains directed toward the objects.
How much did the concept and the final object selection change due to the curatorial collaboration?
I: When we first developed the concept, we spent a long time debating whether to give the display boxes a black finish. After much deliberation, we initially decided on a bold, assertive gesture. During the collaborative process, however, the question came up several times: although black is indeed striking, it could easily distract from the overall composition.
A: This was the result of a shared thinking process, involving Barna Erdész, the exhibition curator, and the team from the Hungarian Fashion & Design Agency. The core idea did not change; only the colour of the material was adjusted, and eventually, we removed the interior cladding of the building so that the architecture itself remains visible. Into this space we placed the pedestal boxes, whose glossy surfaces contrast with the old walls. Some of these walls bear the marks of time, and that is precisely what makes it exciting: the duality, the meeting of different qualities, is a conscious part of the concept.
How did you respond to the exhibition’s motto (Design Aligns – Creating Together, Living Connected)?
A: Some interpretations are very straightforward. For example, with the glossy surfaces, people and objects are reflected, and visitors, through their footsteps and movements, create a new shared image. We are also planning an interactive, immersive installation in the space, which can connect even more directly to the idea of co-creation.
I: There is another aspect, more related to the space itself than to co-creation, yet linked to the idea of connection. The venue consists of many small, winding rooms. While there is a central room on both the ground floor and the upper floor, numerous smaller rooms branch off from these. We excluded the spaces we did not want to use, and the remaining rooms are linked together as if they were a single large space.
Does your generation approach exhibition spaces differently than older designers?
A: I see the difference more in mindset, learned perspective, way of thinking, and work environment than in age. It depends on how someone defines themselves, what projects they take on, and the directions they pursue. Some older designers create very contemporary, fresh work, and some lean more towards traditional solutions. I would add that the older someone is, or the longer they work in a more traditional architectural path, the harder it becomes to remain fresh.
As young architects, how do you see the space for more experimental installation solutions in Hungary?
I: I think many are trying this approach, and there is definitely a demand for it in architecture. People feel that the traditional model does not necessarily work for them. However, it is not easy to pursue this path, as you often face the expectations and influence of the construction industry and clients. In professional practice, many constraints limit your vision. This mindset can truly flourish only when you have a client who is open to these questions and when mutual understanding defines the collaboration.
What professional dream would you like to realise in the future?
A: I would like us to create an office where workshop practice is an integral part, and where design and execution, and their interaction, are continuously present. For us, this is fundamental: it is not enough to design something – we want to realise it in practice too.
I: Even now, we immediately test whatever comes to mind: materials, joints, models. I believe it is essential that our daily work not only occurs in front of a computer but also involves hands-on experimentation. At the same time, one of my biggest dreams is to establish a sister office abroad, allowing us to work on projects in other countries within a few years. I don’t have a specific location in mind; rather, it is the desire to challenge ourselves in different contexts.
Ingrid Manhertz earned both her bachelor’s and master’s degrees at the Department of Architecture and Design of METU. She graduated in 2022 and has since worked as a lecturer at the university while also participating in the doctoral programme at the University of Pécs. She was part of the project team for the Hungarian Pavilion at the 2025 Venice Architecture Biennale, experiencing the entire process – from concept development to exhibition implementation. This experience helped her rethink her architectural practice and reinforced her commitment to following her own path in her work.
Albert Manhertz, continuing a family tradition, trained as a stonemason, architectural sculptor, and artificial stone maker after secondary school, while working alongside his father on historic buildings, gaining a solid foundation of practical knowledge. Later, at MOME, he experimented with a wide range of manual and digital techniques, shaping a complex design approach. After university, he worked with László Benczúr, gaining insight into every phase of the process, from concept creation to execution. He aims to carry this versatile, exploratory mindset forward in the Space Buffet studio.