From e98dc7761ba66fd9ec7c1fe811d5cb614732f4e8 Mon Sep 17 00:00:00 2001 From: =?UTF-8?q?Bal=C3=A1zs=20Mil=C3=A1nik?= Date: Thu, 28 Mar 2024 10:19:45 +0100 Subject: [PATCH] fix --- .DS_Store | Bin 8196 -> 8196 bytes assets/.DS_Store | Bin 8196 -> 8196 bytes assets/css/style.css | 53 +++++++-- assets/graphics/.DS_Store | Bin 8196 -> 8196 bytes assets/images/.DS_Store | Bin 10244 -> 10244 bytes index.html | 243 ++++++++++++++++++++------------------ 6 files changed, 176 insertions(+), 120 deletions(-) diff --git a/.DS_Store b/.DS_Store index 7cafda842fefb9af88fa20481abfd256adef5242..694e439073c92a3a24e761f8356b698dd4ef5083 100644 GIT binary patch delta 167 zcmZp1XmQw}DiD|U^%4UE0}F#5LpnnyLrHGFi%U{YeiBfO1Bl~7FCBG6l~2JdUyxxK zoSdIq0Mx@^Je6T{v%nuF)wfa&KrS0YB116{rZSW;6ri_@% delta 167 zcmZp1XmQw}DiD`?HJpKgfrUYjA)O(Up(Hoo#U&{xKM5$t0mN^_FCKM7l~2JdUyxxK zoSdIq0Mx@^JXv6Kv%nuF)j#Rqfm}9*M22D@Ol2rxC`PmAnfS%YON13z7(k2@!g9=v M&H|fX3QO|<0OI#6v;Y7A diff --git a/assets/.DS_Store b/assets/.DS_Store index c8a287b2dfeb72b3f0d83b297329e5a2166da869..1933400317c8f2a87d76f27a096221b4d753262e 100644 GIT binary patch delta 314 zcmZp1XmQveA!swHi-CcGnIV~>n4vf~-^C>ureEiniNp^u zLn?-ath>%nE)i8^2GKJ_<(L_I6ejN!jgZa(>SJQa!cgCJ;NoN*F$oq1AY-$K7#lks IEZM^d01Q%7_y7O^ delta 314 zcmZp1XmQveA!yT8!@$76%#h4b%ut-0@8Xh_lb-|>;b35Bn8|YXs3Wp$3YzTZ5J7h) zCaGDI=L##cHEfVPdDL<8JYliPcZ7LZK-|f1gq4{R7&Z%v*fOdyMn4P(8pg(u$&kyC z$dJyEif$o81nb$!C8CPVAbN(V95Z9gfyp~XBcy?jVPIm&LRa6wS#xHxj+g{XgEi;r O%^qTG>~yeX4 delta 163 zcmZp1XmQvOD99u&H91)Dj&ww3a(-TLW>spu0Do~tez_-*8&H&5mYG^U*-J=6^WsDX z5a192QwV}FBriWNl~dUv5+cSqdA5)uqrl|7LgI`?ldlTds!G`<0HxR%92ts%FqNT% pp*T0+#U&{xKM5$#!NAb4Y|*jF=E4drU`DjCJX3tb<{IG+9sqXnDggih diff --git a/assets/images/.DS_Store b/assets/images/.DS_Store index a067bf48346c2f52804dc76a5192139c43e56995..7a05f955e7c68b411583a6863a31b3f919eacd83 100644 GIT binary patch delta 102 zcmZn(XbIRLD$Z<^y?62lF^S0r;(Tljth>%1bp&%`#Q9i2+{t<3>P$8lCchVx+`K_N Nm7fIllQ)Qm001&wBmV#Z delta 100 zcmZn(XbIRLD$Z;-Gh*@wF^S0r;(TlkGZ&mb>Imk>i1V?4xRdk5)fw$4zY~+%yg@vb MpLpeyH;9J-0BAbstract in sufficient depth, focusing on Metro Line 3 as a landscape of transition.

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Metropolitan

- Given its age, Line 3 has been has been granted the nickname “commie line”, (Robert, 2018)“commie line”, (Robert, 2018) [3]Robert, N. (2018). Communist-era subway line in Budapest - Soon to @@ -223,7 +222,8 @@

Metropolitan

, based on the fact that the landscape of the metro didn’t change whatsoever before its renovation commenced in late 2017.

With its oldest section being almost 50 years old, it - remained an archeological ground of the past socialist era, serving mostly as the “blue-collar” + remained an archeological ground of the past socialist era, serving mostly as the “blue-collar” (Wilkinson, 2019) [4]Wilkinson, C.J.. (2019). Making Ends Meet – Metro Line @@ -271,8 +271,9 @@

Conduct

To present my findings in a structured framework I will handle and dissect the site of Line 3 as - a palimpsest. While originally referring to “something having usually diverse layers or aspects - apparent beneath the surface” (Merriam-Webster, 2024)“something having + usually diverse layers or aspects + apparent beneath the surface” (Merriam-Webster, 2024) [6]Merriam-Webster. (2024). Palimpsest. Merriam-Webster Dictionary. @@ -307,17 +308,14 @@

Conduct

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Nyugati Aluljáró

As we walk down the stairs into the underground, natural light gets replaced by buzzing - electric lamps. The floor is sticky and dirty, littered mostly with cigarette buns and other small-time + electric lamps. The floor is sticky and dirty, littered mostly with cigarette buns and other + small-time trash. The paint on the walls is scraping off, which at least is covered up by gigantic graffiti - at some places. From and to both directions masses of people pass by small businesses.

- One can find flowers for their valentine, a nice handbag, or get their phone fixed. And if here, why not eat - a Gyros or Schnitzel at one of the restaurants that try to invite people in for a quick bite?

- A man is playing their violin with his hat on the floor for coins, a homeless person lies passed out by + at some places. From and to both directions masses of people pass by small businesses.

+ One can find flowers for their valentine, a nice handbag, or get their phone fixed. And if here, + why not eat + a Gyros or Schnitzel at one of the restaurants that try to invite people in for a quick bite? +

+ A man is playing their violin with his hat on the floor for coins, a homeless person lies passed + out by one of the pillars, and tourists try to buy some tickets from a vending machine. This place is a mess.

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Nyugati Aluljáró

title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen> -
Video 1: Me in Nyugati Aluljáró [8]Milánik, Balázs. (2023). +
Video 1: Me in Nyugati Aluljáró [8]Milánik, Balázs. (2023). Nyugati Aluljáró. Personal footage.
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Nyugati Aluljáró

The unhoused often find themselves squeezed between two inaccessible environments, with the underpass being a tolerance zone for those who otherwise are not welcome on the street or on the metro itself. A de facto enclave for the marginalised, a ghastly resemblance to an - open prison, “in which individuals whose behaviour is deviant in relation to the required means - or norms are placed.”
(Foucault, 1984) [12]“in which individuals whose behaviour is deviant + in relation to the required means + or norms are placed.”
(Foucault, 1984) [12]Foucault, Michel. (1984). “Of Other Spaces, Heterotopias.” Translated from Architecture, Mouvement, Continuité no. 5: 46-49. @@ -545,19 +550,19 @@

Trényi's Newspaper

- Eventually, I found the entry. It is not hard to spot among the junk of the underpass, as its shiny-colored design stands out from afar. The escalators lead down to a probably just as nice place. As I approach the entry I spot a line of people in uniforms, standing by the escalators. They all pose a small machine, resembling a barcode reader. + Eventually, I found the entry. It is not hard to spot among the junk of the underpass, as its + shiny-colored design stands out from afar. The escalators lead down to a probably just as nice + place. As I approach the entry I spot a line of people in uniforms, standing by the escalators. + They all pose a small machine, resembling a barcode reader.

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Supervision Today

- The escalator is not quite like the ones that I have remembered. The walls were of strong colours and covered by a myriad of small billboards encapsulating advertisements, with pairs of lamps running all the way down into the depths below. In the new ones I somehow don’t feel the same vertigo. As I approach the level of the station, I am now fully convinced that the new stations are going to be just as bright and modern, overall: boring. + The escalator is not quite like the ones that I have remembered. The walls were of strong + colours and covered by a myriad of small billboards encapsulating advertisements, with pairs of + lamps running all the way down into the depths below. In the new ones I somehow don’t feel the + same vertigo. As I approach the level of the station, I am now fully convinced that the new + stations are going to be just as bright and modern, overall: boring.

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Interiors

- As I land on the platform, I am welcomed in a much brighter open space. We have left the unease of the underpass behind. The white LED lights run parallel with the perron. There is no more buzzing, the escalator is also far enough for it to fade into the silence of the station.

The walls surround me in brighter, happier colors, all the signage shines in one of the globally used fonts, probably some slightly altered version of Helvetica. + As I land on the platform, I am welcomed in a much brighter open space. We have left the unease + of the underpass behind. The white LED lights run parallel with the perron. There is no more + buzzing, the escalator is also far enough for it to fade into the silence of the + station.

The walls surround me in brighter, happier colors, all the signage shines in + one of the globally used fonts, probably some slightly altered version of Helvetica.

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Typography

typography has to be harmonised with the station interiors to create legible, yet aesthetic information containers for the sake of public navigation.

The original type choices saw a visual clutter of different colors, fonts, and even logos being - used simultaneously within the same system, which “...especially in an environment that is below - ground level with constant artificial lighting, and where ceiling heights (265cm) often - dropbelow the comfortable levels common in public spaces...” (Marafkó, 2000)“...especially in an environment that is below + ground level with constant artificial lighting, and where ceiling heights (265cm) often + dropbelow the comfortable levels common in public spaces...” (Marafkó, 2000) [37]Marafkó, Bence (2000). A budapesti metró arculata és @@ -1032,8 +1043,8 @@

Typography

alt="Népliget (People’s Park) opened along with Ecseri út, was known for its vibrant green walls, often considered to be in an uncanny contrast with its red granite floor.">
Figure 17: The original design of Újpest-városkapu (Újpest-city gate) visualized the route of the metro as a simple map of - colored dots.
The design was executed based on the “Coloroid system” of Antal Nemcsics. [40] The design was executed based on the “Coloroid system” of Antal + Nemcsics. [40]Litten, Troy. (2017.). Budapest’s Metro 3 route as wall graphic on the platform at Újpest–Városkapu station. Underground Utopia. @@ -1105,17 +1116,14 @@

Deák Ferenc tér

ceiling display numbers, counting back every half a minute, signaling the trains assumed arrival.

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Underground Sounds

- “Modern man is beginning to inhabit a world with an acoustic environment radically different - from any he has hitherto known…”
(Chafer, 1993) + “Modern man is beginning to inhabit a world with an acoustic + environment radically different + from any he has hitherto known…”
(Chafer, 1993)  [44]Schafer, R. M. (1993). The soundscape: Our Sonic Environment and the Tuning of the World. Destiny Books. @@ -1209,7 +1218,8 @@

Underground Sounds



Other than constituting an already overwhelming ambiance of buzzing lamps, loud trains, monotone escalators and slamming doors, the metro requires the passengers to also pay attention to the - vocal instructions of the system.

On the old line, power commanded the passenger from rusty + vocal instructions of the system.

On the old line, power commanded the passenger from + rusty loudspeakers, as a faceless human voice, repeated pieces of information regarding where we are and where we are going. It alarms us of the dangers of the platform edge or the closing doors and does not forget to remind us to present our tickets to the inspectors. @@ -1235,19 +1245,24 @@

Underground Sounds

[SOUND] Budapest Metro Sound 361 Metrovagonmash 81-717 BKV M3 Metró [Video]. Youtube.

- 1. A two-note signal (E-C) followed by the statement:

+ 1. A two-note signal (E-C) followed by the + statement:

“Kérem vigyázzanak, az ajtók záródnak!”
- (Please be careful, the doors are closing!) + (Please be careful, the doors are closing!)


- 2. After that came the announcement of the upcoming station, along with additional information - if needed, such as the sides on which the doors will open, or transfer options:

+ 2. After that came the announcement of the upcoming station, + along with additional information + if needed, such as the sides on which the doors will open, or transfer options: +

“A Népliget következik. Az ajtók a jobb oldalon nyílnak. Átszállhatnak a távolsági és helyközi autóbuszokra.”
- (The following station is Népliget — People’s Park. Doors will open on the right. - You can transfer here to national and regional buses. + (The following station is Népliget — People’s Park. Doors will + open on the right. + You can transfer here to national and regional buses.


- 3. At the time of the arrival to the station, the name will then be repeated once more as to - state that one has indeed arrived. + 3. At the time of the arrival to the station, the name will then + be repeated once more as to + state that one has indeed arrived.

These vocal frameworks, however, often got sabotaged by their surrounding sonic conditions. On @@ -1319,9 +1334,9 @@

Silence in the Tunnel

allowfullscreen>
Video 10: Travelling in the new sonic environment of the metro. -  [51]Milánik, Balázs. (2023). Nagyvárad tér — Ecseri út. Personal +  [51]Milánik, Balázs. (2023). Nagyvárad tér — + Ecseri út. Personal footage.
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Silence in the Tunnel

The sonic staging of the metro in general acquires an inescapable space of sonic conditions, which albeit come from our own decisions to use such systems, overall reflect on the notion of being surrounded by artificial environments.

- “All acoustic symbolism, even that associated with archetypes, is slowly but steadily undergoing - modification. Modern man has - sought to escape both the wind and the sea by encapsulating himself in artificial environments.” - (Chafer, 1993) [52]Schafer, R. M. (1993). The + “All acoustic symbolism, even that associated with archetypes, + is slowly but steadily undergoing + modification. Modern man has + sought to escape both the wind and the sea by encapsulating himself in artificial + environments.” + (Chafer, 1993) [52]Schafer, R. + M. (1993). The soundscape: Our Sonic Environment and the Tuning of the World. Destiny Books.

As the metropolis leaves less and less space for natural sound environments, metros can provide us with a speculative reading regarding the dominance of structured sounds in our everyday - lives.

While we can be rid of the seas and winds, especially being under the ground, we might as + lives.

While we can be rid of the seas and winds, especially being under the ground, we + might as well find that it is in the end our man-made sounds that force us into silence.

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Silence in the Tunnel

As the train starts to slow down, I stand up and squeeze myself onto the nearest door. My blue coat collides with other thrifted coats, bumper jackets, and counterfeit bags of famous brands. I am standing in the first cart of the train.

- As we emerge from the tunnel, the darkness on the other side of the windows suddenly turns into a fast-moving station. We pass by many white + As we emerge from the tunnel, the darkness on the other side of the windows suddenly turns into + a fast-moving station. We pass by many white pillars, seats of concrete, all metallic textures, most of the time lit by clinical white lights. The train starts to slow down, the space slowly stops moving, the deep-voiced announcer states the station. We have arrived.

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Special Thanks To

paper;

Thomas Buxó & François Girard-Meunier
— coding tutors;

- Bart de Baets
— visual essay tutor;

- The members of the graduating class of 2024
— for + Antonina Świetlicka
— for + proofreading;

+ The members of the graduating class of 2024
— + for their feedback;

Saci Gázmár, Domonkos Greskó & Markus Hermann
— for descending to the metro with me.


- © Balázs Milánik
— Royal Academy of Art, The Hague + © Balázs Milánik
— Royal Academy of Art, The + Hague 2024

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