The Museum of Applied Arts in Budapest, a landmark of Art Nouveau architecture designed by Ödön Lechner, has been closed since 2017 for extensive reconstruction. Yet, despite the closure of its main building, the museum continues to thrive in innovative and unexpected ways. The recently published bookazine, Iparkodunk (translated into English as Craftivity), offers a fascinating glimpse into how the museum sustains its mission even without a physical exhibition space.
Keeping the museum alive beyond its walls.
For over seven years, the museum’s dedicated team of museologists has worked tirelessly to ensure that its invaluable collections and cultural heritage remain accessible to the public. With no permanent exhibition space, the museum has relied on creative strategies, including: hosting events at international locations and temporary venues, organizing traveling exhibitions in collaboration with other institutions, utilizing the museum’s warehouse and collection database to craft compelling digital content, and engaging audiences through social media and online storytelling. These efforts have successfully kept the spirit of the museum alive, ensuring that it remains an essential cultural hub for Art Nouveau and applied arts enthusiasts worldwide.
The 160-page bookazine Iparkodunk documents this incredible journey of resilience. Through reports, interviews, and vibrant stories, it showcases the museum’s continuous efforts to remain relevant despite its closure. The title itself is a playful reference to the dedication and hard work of the museum’s team, encapsulating their relentless commitment to keeping the institution in the public consciousness.
Visually, Iparkodunk reflects the paradox of the museum’s current state—outwardly restrained but inwardly rich.
Designed by graphic artist Anna Farkas, the book’s grey, industrial-style cover with black-edge painting may initially seem somber, symbolizing the museum’s undeserving predicament. However, the inside bursts with life, featuring stunning imagery, vibrant red thread motifs, and insightful narratives that reveal the brilliance of the museum’s collection.
A notable design element is the cover’s use of Eska® Board, which conveys a raw, unfinished feel—perhaps a nod to the museum’s ongoing transformation. Additionally, the book’s inner title page features a detail from Walter Crane’s The Peacock Garden wallpaper, a decorative masterpiece that graces the ground-floor corridor of the museum’s directorate wing. This touch reinforces the book’s connection to the museum’s legacy and its aspirations for the future.
Printed on Arctic Volume White 150 gsm paper, Iparkodunk achieves a delicate balance between premium aesthetics and environmental responsibility. The paper’s matte surface, natural tactile feel, and excellent opacity make it an ideal choice for showcasing high-quality imagery. Furthermore, its Cradle to Cradle Certified® Bronze Level status aligns with the museum’s commitment to sustainable cultural preservation.
The book’s striking visual identity is the work of Anna Farkas, a renowned Hungarian graphic designer and founder of Anagraphic, established in 1999. Specializing in logos, emblems, and brochures, Farkas has also crafted complete graphic identities and packaging designs. She is known for her original adaptation of Goethe’s Theory of Colours, as well as for developing the new graphic identity of the Zeneakadémia (Liszt Academy). Additionally, she won the Red Dot award last year for her book Badacsony, printed on GardaMatt Rough paper, and is the creator of famous the lunar and solar cycles calendar system Anaptár, released annually since 2009.
Beyond her design work, Farkas has played a significant role in the Hungarian graphic design community. She co-founded the Society of Hungarian Graphic Designers and Typographers in 2006 and remains a member of its managing board. Her contributions to the field have earned her numerous accolades, including two Red Dot awards, four Awards of Excellence from Communication Arts, and the prestigious Certificate of Typographic Excellence from the TDC Communication Design judges in 2018.
Looking toward the future.
While the Museum of Applied Arts in Budapest awaits the completion of its renovations, Iparkodunk serves as both a bridge to the past and a beacon for the future. It highlights not only the museum’s struggles but also its enduring vibrancy. The publication reassures us that when the museum reopens its doors, it will not only reclaim its status as a world heritage center of Art Nouveau but emerge stronger than ever.
Until that day arrives, Iparkodunk stands as a powerful reminder that even in times of uncertainty, art and culture continue to thrive through passion, innovation, and perseverance.
Images © anagraphic