256 Champagne in the Snow That is how an object becomes an artwork. And this is precisely how another artist worked, a famous Austrian painter, who the world now identifies only as an architect: Friedensreich Hundertwasser. He, too, worked alongside real architect-designers, freeing them from their inner inhibitions, to create the world-changing, picturesque visions that are embodied in his architecture. Városi’s dreams are equally free, effervescent, even unabashedly authoritarian and self-righteous. He is not even as interested in contemporary architecture as a professionally informed contemporary designer. Nor as interested as he is in the internal laws of his own house, that is to say, not as interested as he is in his own world. Solving such a self-revealing puzzle is indeed a rather lengthy exercise. It takes years from the first inspired idea or sketch to the day of moving into the house. His designs, uninhibited in the good sense, are sometimes piled with a multitude of details requiring incredibly complicated calculations and production problems, which he has to overcome successfully by his learning-by-doing method. And in such a way that the end result still necessarily carries the freshness and lightness of the first idea, without being burdened by the weight of the external requirements. This takes enormous energy, which is constantly regenerated by Városi’s hedonistic approach to life. If he were not like that, his houses would not be so full of life, they would not be so vibrant and pulsating, and the façades would not shimmer with sun-bright sails. And yet this is exactly what happens.
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