How did Botanika Labor come about, and what made it different from the very beginning?
Botanika Labor is located in a building that is over 100 years old and surrounded by a garden with mature trees. The idea was to create a relaxing, meditative space inside that reflects the greenery of the garden outside.

What part of the day, the space, or the creative process do the people who work here enjoy the most?
I love the mornings, when the sun shines through the windows. But Botanika Labor is also a magical place. Somehow, you leave your worries and stress outside and become calm within. I’ve noticed that people really do become more relaxed during their time here. I believe it’s because of the environment and the creative workshops we offer.

If someone walks in for the first time, what should they absolutely not miss?
People are always taken aback by the fragrances when they first walk in. As a candle-making studio, our shelves are filled with fragrance oils, scented candles, and diffusers, so Botanika Labor always smells wonderful.

What is an interesting challenge that has made you rethink something about the project?
Product development has been a constant learning process. I never run out of ideas or new workshop concepts, but not every concept connects with the audience. That challenge has taught me to be patient and considerate, and to accept that sometimes an idea is too early or simply doesn’t work. I try to validate ideas earlier and let my audience’s feedback guide the direction of new products.

What influence, idea, or reference continues to guide what you do today?
My credo is that every detail contributes to the overall experience. Although candle making is traditionally seen as a craft, I don’t position it that way. I see my workshops as immersive scent experiences, where visual aesthetics, atmosphere, and the careful selection of fragrances are just as important as the candle itself.

Choosing each scent has become a ritual, and I’m constantly inspired by brands and creators who approach their work with the same level of intention and attention to detail.

What place, project, or person has inspired you lately, and why?
A recent trip to Paris was incredibly inspiring. Visiting the Fragonard Perfume Museum gave me a deeper understanding of the history of fragrance, from raw materials and the art of perfume making to how perfume evolved from a luxury reserved for a privileged few into something that became part of everyday life. It reminded me that scent has always been a powerful way to tell stories and create emotional connections.

I’m also continually inspired by Maison Margiela’s Replica collection. I love how each fragrance captures a specific place, memory, or moment in time. That idea, that scent can instantly evoke emotions and take us somewhere else, strongly influences how I think about my own candles and the experiences I create.

If your space could invite anyone to collaborate for a day, who would it be, and what would you do together?
I’d choose Rezeda Ceramics, a ceramic artist who uses plants to decorate her ceramics. Her aesthetic aligns beautifully with Botanika Labor. We’ve built an ongoing collaboration around the idea of creating objects with a long life.

Together, we host workshops where participants first make a handmade ceramic vessel, then return to fill it with a scented soy candle. Since the candles are made with biodegradable soy wax, the ceramic vessel lives on long after the candle is gone. I also offer her handmade ceramics in my studio as candle vessels. I love how our collaboration brings together craftsmanship and sustainability.

Is there an object, corner, or detail in the space with a story that few people know about?
One of the details in the space that carries a special story is an old chest of drawers where I keep many of my candle-making tools: wicks, pipettes, labels, and colourants. It has been in my family since my grandparents’ time. Unfortunately, it was too large to fit into my home, so for years it was forgotten in a basement, collecting dust.

When I was creating Botanika Labor, it became one of the central pieces of the space and actually inspired much of the retro interior design. It means a lot to me that an object connected to my childhood memories has found a new purpose and become part of the creative process again.

If this project were a city, a book, or an album, which one would it be, and why?
If Botanika Labor were a record, it would be something calm, atmospheric, and slightly nostalgic, like the music of Balthus. I often listen to it while working in the studio because it helps me enter a more creative and focused state.

For me, Botanika Labor is not only about making candles, but about creating a mood: a space where small details, scents, memories, and emotions come together. Like a piece of music, each fragrance tells a story and creates an atmosphere that can transport you somewhere else.

Anna Bárdics
Owner at Botanika Labor
Budapest, Hungary
instagram.com/botanika.labor

La entrada Botanika Labor se publicó primero en ERRR MAGAZINE.

How did this place come about and what made it different from the start?
Thisshit started as a skateboard clothing brand 12–13 years ago, when I was learning graphic design at a university, but doing it alone made it too complicated, so I had to stop. Then, years later, I met my now ex-fiancé, who I’m still in good friendship with, and we still do everything together about the studio. She inspired me to make a 10-year anniversary exhibition about the brand at a local bar and gallery, to see if people were still interested.

After the very successful exhibition, we decided that it was time to step into a new era with the brand and try to open our little place, mixed with tattooing as well. At the beginning, we tried to put the focus more on the merchandise, but after a short period of time it was clear that customers were much more interested in getting tattoos at our place than we thought.

So now it is more like a tattoo studio where you can also buy our merch and some locals’ prints, sculptures and pottery.

What part of the day, space, or creative process do those who work here enjoy the most?
It might seem cheesy, but every minute feels very enjoyable here, because the place itself feels more like a home than a workplace. What we enjoy the most, together with all the guys who work here, is when we can design our tattoos at the same time and also help each other with great ideas about them.

Or I could also pick those moments when the guests start to feel so comfortable at the studio after the tattoo session that we all stay there and enjoy some time together.

If someone is coming in for the first time, what should they not miss?
The place is full of little knick-knacks to look at, so if you have some time to look around, you will for sure find some treasures. Also, some prints on the wall are for sale, so don’t be afraid to ask about them!

What has been an interesting challenge that has made you rethink something about the project?
At the beginning, we were only planning on having a private studio with one or maximum two tattoo artists, but after some time and after some applicants who wanted to work with us, we decided to make a system where we can give space to more artists and form a team at the studio.

What influence, idea, or reference continues to shape the way you work today?
All the artists who work here have such different styles that we inspire each other with all the different designs that we make and our different attitudes toward work, so we can evolve together.

What place, project, or person has inspired you recently and why?
Since I’ve been skateboarding for more than 20 years, the street life of Budapest inspires me the most. And if I have to say a person, it would be Robert Borbás, because his art always amused me, and when he started making tattoos, that might have put the idea in my mind as well about tattooing.

If your space could invite someone to collaborate for a day, who would it be and what would you do together?
We would be happy to collaborate with anyone who has the same raw energy and the same vibes, so that he/she would be a good fit for the mentality of the studio.

Is there an object, corner, or detail of the place that has a story that few people know?
The stencil machine that we use at the studio actually took one-quarter of our money when we started to make the place, and we had to ask a friend who lives in England to bring it over to us, so it is truly special to us.

If this project were a city, a book, or a record, which would it be and why?
If the studio were a painting, I think it would be a mix of Dalí and Bosch, but maybe a bit darker. If it were a city, for sure it would be Budapest, with all the chaos that you can find here, with the very rich and very poor areas and the unique vibe of the people who live here.

If it were a record, it would be a blues song because I love the contrast in blues music between the raw, rough sound and the beautiful, melancholic melodies, which would fit Thisshit Studio a lot.

Máté Juhász & Orsolya Papp
Co-owners of THISSHIT Studio
Budapest, Hungary
instagram.com/thisshit_studio

La entrada Thisshit Studio se publicó primero en ERRR MAGAZINE.

How did this place come about and what made it different from the start?
Éden is a Hungarian studio of women creators where, in addition to offering the opportunity to try on and test products, it also provides a space for personal meetings and conversations. Every day of the week, a different creator is present, maintaining a sense of intimacy and personal connection.

The designers are Dalma Dévényi (d’Alma Jewelry), Anett Hajdú (Hajdú Anett Illustration), Vanessza Vágó (OAT AVA), Dóri Légrádi (DL Flowers), and LIB Women.

Supporting one another is also essential to us because, given our life situations (family and childcare), running individual showrooms would not be sustainable. In terms of our selection, we design for bold, independent, and experimental women.

What part of the day, space, or creative process do those who work here enjoy the most?
In the morning it is quiet, so I can work with the greatest focus, creating illustrations. In the afternoon, I connect with visitors, talk with them, and present the products. I’ve noticed that visitors really enjoy having the designer in the space because it gives them the opportunity to ask questions they wouldn’t normally be able to ask a salesperson in a regular shop.

I also love it when we host events, such as exhibition openings at Éden. Because we’re located in such a central area, guests can easily find us.

If someone is coming in for the first time, what should they not miss?
Our guest creators’ products, which are only available for limited periods: niche fragrances by The Armor Fragrances, sunglasses by Nagira Spectacles, and ceramics by Parbiart. These are all small-batch creations by women designers, so you really can’t go wrong.

What has been an interesting challenge that has made you rethink something about the project?
Transforming the back area was an important challenge. It used to be a more intimate space with a private seating corner, and we displayed work-in-progress materials on the walls. However, visitors often weren’t sure whether they were allowed to enter.

After opening up the space and using lighting to highlight that there were still many treasures waiting to be discovered, people naturally began exploring the area. We now try to make use of every part of the showroom, filling it with exciting objects waiting to be found.

What influence, idea, or reference continues to shape the way you work today?
One of our main goals is to draw attention to craftsmanship and slow, thoughtful consumption. Representing these values feels especially important today.

We want people to appreciate uniqueness, understanding that handmade objects take time to create, but in return offer something genuinely rare or produced only in very small batches. For those who value that, Éden offers exactly that experience.

What place, project, or person has inspired you recently and why?
While working on my latest contribution to On Paper magazine, where I explored contemporary trends in fashion illustration through examples from my own practice, I visited MagCulture in London.

Seeing so many beautifully produced print publications reinforced my belief that print remains incredibly important and is becoming even more valuable today because it engages our senses in ways that digital media simply cannot.

If your space could invite someone to collaborate for a day, who would it be and what would you do together?
I’d love to collaborate with a make-up artist to explore what make-up looks inspired by my illustrations might look like.

Is there an object, corner or detail of the place that has a story that few people know?
Kati Vörös, a renowned Hungarian interior designer and a close friend of ours, played a key role in shaping the space. The project began with many challenges, and without her expertise and support, we simply couldn’t have achieved what we envisioned.

If this project were a city, a book, or a record, which would it be and why?
Something by the Spice Girls… a cool pop girl group. ?

If it were a city, it would be Lisbon: original, intimate yet lively, beautiful and adventurous, full of contrasts, warm, and sunny.

Anett Hajdú
Founder of Éden
Showroom & Studio
Budapest, Hungary
instagram.com/eden_showroom_and_studio

La entrada Éden se publicó primero en ERRR MAGAZINE.

How did this place come about and what made it different from the start?
The idea came after a family trip to Barcelona. We noticed that there was still room in Budapest for a luggage storage concept. We found a location that was much bigger than what we needed for lockers alone, so we rented a coffee machine and started serving sandwiches and cakes.

Very quickly, we realized that what we enjoyed most wasn’t just running the business, but meeting people from all over the world. Hospitality became our real passion. My sister and I completed barista training, invested in our own coffee machine, and started sourcing different coffees, including decaf and filter options. After two years, we evolved into a concept that combines a brunch café with luggage lockers.

One thing that makes us different from many cafés is what we like to call coffee democracy. Whether someone prefers a classic dark Italian roast with robusta or a light-roasted 100% Arabica specialty coffee, we believe both deserve a place on the menu. At the same time, we built a breakfast menu inspired by our travels across Europe and the conversations we had with our guests.

From day one, our biggest difference has been that we’re a family business. Every member of our family worked here in the beginning, and that personal approach still defines the atmosphere today. We want every guest to feel as if they’re visiting someone’s home rather than just another café.

What part of the day, space, or creative process do those who work here enjoy the most?
The best part is definitely the service. Seeing guests enjoy a carefully brewed coffee, a creative brunch dish, and genuine hospitality is what motivates us every day.

We’re also passionate about developing new dishes, discovering new coffees, and working with local roasters. Together with our head barista, who is also a graphic designer, we even create our own merchandise.

Our team plays a huge role in everything we do. We mainly hire university students, train them according to our own values, and, after about a month, provide barista training so they can work both behind the coffee machine and on the floor. It keeps their work more varied while helping them develop new skills.

We also involve our team in brainstorming new menu items, drinks, events, and social media content because we genuinely value their ideas. We’re probably proudest of the team we’ve built and the welcoming atmosphere they create every day.

If someone is coming in for the first time, what should they not miss?
Definitely the coffee. We put a lot of care into every cup. We always encourage guests to tell us what kind of coffee they enjoy, and in most cases we’ll ask about their preferences so we can recommend the beans that suit them best.

For food, our Hungarian Breakfast has been on the menu since day one and has become one of our signature dishes. We’d also recommend the Turkish Eggs, which many guests say are among the best in Budapest, followed by one of our fluffy pancakes or our classic Nutella crêpes.

Our menu is inspired by breakfast cultures from across Europe and includes plenty of vegetarian options, so there’s something for everyone.

What has been an interesting challenge that has made you rethink something about the project?
One of our biggest recent challenges was the Airbnb restrictions in our district. Since a large part of our luggage storage business depended on tourism, it encouraged us to focus even more on becoming a destination brunch café rather than just a convenient stop for travelers.

It also reminded us that you have to keep adapting. We always keep an eye on current trends. If something works, we develop it further; if it doesn’t, we’re not afraid to try something new. That’s how ideas like our Bottomless Mimosa Brunch on Tuesdays and Fridays were born.

What influence, idea, or reference continues to shape the way you work today?
We’re constantly inspired by some of Europe’s most iconic brunch cafés, from Lisbon to Paris, Madrid, and Barcelona, while also keeping a close eye on Budapest’s excellent coffee scene.

At the same time, we stay loyal to our own philosophy. As a family business, we simply try to create the kind of place where we ourselves would love to spend time as guests. Great food, excellent coffee, and genuinely warm service are always our priorities.

What place, project, or person has inspired you recently and why?
In the beginning, Holybelly in Paris was a huge inspiration. They showed us that it’s possible to build a successful hospitality business while maintaining a strong family spirit and a personal connection with guests.

We’re also regular readers of Standart Magazine, which keeps us inspired by what’s happening in the world of specialty coffee.

Lately, we’ve been following Topjaw, whose storytelling around food and travel we really enjoy, as well as Fallow Chefs, whose recipes often inspire new ideas in our own kitchen.

Today, our biggest inspiration is Budapest itself. The city has an incredible food and coffee scene, with so many outstanding places to visit. At the same time, we’re constantly asking ourselves how we can improve, evolve, and create an even better experience for everyone who walks through our doors.

If your space could invite someone to collaborate for a day, who would it be and what would you do together?
We’d love to collaborate with Tamás Buda and Gábor Rácz behind the Budapest-based bakery Termelo, whose pastries we really admire. We’d also enjoy spending a day with the European Coffee Trip team, exchanging ideas about specialty coffee, café culture, and what makes hospitality truly memorable.

Is there an object, corner or detail of the place that has a story that few people know?
One detail many people miss is the four lion faces on the outside wall of the building. That’s actually where the name Lion’s Locker comes from.

The space itself also has an interesting history. It stood empty for nearly 25 years and was once believed to have been part of a leather factory’s offices. When we found it, very few people believed it could become a successful business, but we saw its potential from the very beginning.

If this project were a city, a book, or a record, which would it be and why?
It wouldn’t be a single city, because every day we welcome people from all over the world. If anything, it would be a place where different cultures naturally meet over good coffee and brunch, a reflection of the international community that has grown around Lion’s Locker.

But if we had to choose one city, it would be Barcelona. That’s where the original inspiration came from, and we like to think we share the city’s vibrant, welcoming, and diverse spirit.

Choosing a single book or record would be much harder. Lately, we’ve had the latest Royel Otis album on repeat, and Foals is another band we keep coming back to.

Ági Kreisz & Marcell Kreisz
Co-owners of Lion’s Locker
We take brunch very seriously.
Budapest, Hungary
instagram.com/lionslocker

La entrada Lion’s Locker se publicó primero en ERRR MAGAZINE.

How did this place come about and what made it different from the start?
N. V.: Editory is an exhibition and event space run by four of us: Lilla Gollob, Kitti Mayer, Réka Vikárius, and Noémi Viski, all of whom are design theorists and design managers. We first met years ago while working at the editorial office of a local magazine, where we quickly realized that we shared similar values regarding current issues in design and visual culture.

This led us to form a collective and create the persona of edit. Edit supports designers, creates publications, organizes collection launches, writes texts, and conducts research on design history.

It didn’t take long for edit to get a space of her own. In May 2025, at the invitation of Pigmenta Art Print Lab (a local print shop), we moved in next to their home in downtown Budapest.

Before we arrived, the space operated as a rentable co-working office. Since then, we have transformed it into an urban living room, a popular meeting point for the local design community. We organize exhibitions, magazine launches, collection debuts, fairs, and workshops. The space also serves as a pick-up point for high-quality art prints (made by our neighbours), and, at the same time, this is our office.

What part of the day, space, or creative process do those who work here enjoy the most?
N. V.: When we moved in, one of the first things we did was get a bench outside, next to our entrance, so we could enjoy our coffee breaks there. The bench was crafted for us by Hungarian designer Ádám Tóth (Malom Projekt). He arrived with the newly made bench straight from his workshop just one minute before our opening event began.

Since then, countless local residents have taken a moment to rest on this bench. It’s always exciting to watch from inside through the large storefront windows to see who stops by, why, and for how long.

Design is often associated with the whims of the middle and upper classes, yet it is far more complex than that. Design is present even in our most mundane everyday interactions.

The 8th district of Budapest is a high-density central area known for its dynamic mix of social and spatial diversity. We consider this bench a gateway between our space and the local community, between design masterpieces and real social needs.

If someone is coming in for the first time, what should they not miss?
N. V.: First, we would recommend taking a look at our current exhibition. Now, for example, visitors can explore the history of a Hungarian beauty brand called Fabulon from the 1970s. As curators of the show, we were curious to find out what kind of social context and design decisions allowed capitalist ambitions to emerge during Hungary’s socialist era. We analyzed a wide range of packaging designs, posters, and early merchandise objects.

Secondly, we suggest peeking through the glass door into the neighbouring space, Pigmenta, to catch a glimpse of the hustle and bustle and see how prints by Hungarian illustrators and photographers are created. Then come back and ask us which ones we have in stock. You will find the widest selection on our webshop for order, but we always keep some prints on hand that you can take home straight away.

And thirdly, do not miss the cat across the street. He usually sits in one of the first-floor windows and checks what’s going on with us. He is our biggest supporter.

What has been an interesting challenge that has made you rethink something about the project?
R.V.: As a grassroots initiative, one of the most interesting challenges has been learning how to make an independent cultural space sustainable without losing what makes it special.

Recently, we have been spending a lot of time applying for grants and exploring different ways to support our event space. Along the way, we have realized that long-term sustainability also depends on continuously growing and diversifying the community around us.

That has encouraged us to step outside our own bubble and connect with new audiences.

What influence, idea, or reference continues to shape the way you work today?
R.V.: A simple mantra has shaped the way we work from the very beginning: “The design scene is small, so we have to build it together.”

Hungary has a very talented design community across fashion, product, and graphic design, but still has a relatively small ecosystem with limited industry infrastructure. Many designers rely on small manufacturers, craftsmen, and specialized workshops to develop prototypes or produce limited editions, simply because large-scale production opportunities are scarce.

In this context, strong professional networks and spaces for collaboration become essential parts of the design ecosystem.

Whether we are writing articles, editing publications, curating exhibitions, or organizing events, we see all of these activities as ways of strengthening the design community.

Editory gives this idea a physical form: it’s a place where designers, makers, writers, and visitors can meet, exchange ideas, and start new collaborations. Ultimately, we hope that by creating these opportunities, we’re not only supporting individual projects but also contributing to a more connected design culture.

What place, project, or person has inspired you recently and why?
R.V.: Whenever I visit a new city, I’m always drawn to small cafés where you can browse niche, high-quality magazines alongside thoughtfully selected design objects.

On a recent trip to Lódz, locals recommended a tiny café called Kiosk, which immediately became one of my favourite spots. Housed in a former newspaper kiosk, it’s a charming little place where you can enjoy a great cup of coffee while lingering over an inspiring collection of magazines, independent publications, and objects.

I’d love to see our online print shop take on a physical form at Editory in the near future, surrounded by a carefully curated collection of publications and local design objects.

If your space could invite someone to collaborate for a day, who would it be and what would you do together?
R.V.: Although we’re united by a shared vision for Editory, each of us has our own area of interest and creative influences.

Kitti is passionate about Czech design, so she’d probably spend the day with Czech curator and journalist Eva Slunecková, dreaming up an unconventional project. Noémi has long admired the work of the BIO Ljubljana Design Biennial and would love to collaborate with the team on an issue-based pop-up exhibition at Editory.

Lilla is fascinated by the adaptive reuse of former industrial buildings, so she would likely join forces with the team behind the INOTA Festival to bring their unique blend of industrial heritage, contemporary art, and techno culture into Editory.

As for me, I’d invite photographer Szilveszter Makó. I’m particularly inspired by his campaign for ABODI, a fashion brand with Transylvanian roots. I’m drawn to the way he translates folklore and local traditions into a contemporary visual language. It would be exciting to bring that atmosphere into a site-specific installation at our space.

In a way, we’re already moving in this direction. At the end of September, we’ll launch the first edition of our new talk series, Design Diaries, inviting inspiring voices from across Central and Eastern Europe to share their perspectives on fashion, product design, graphic design, and urbanism.

Is there an object, corner or detail of the place that has a story that few people know?
R.V.: One of the defining elements of Editory is its pink linoleum floor. Last year, it became the starting point for one of our exhibitions exploring the cultural history of pink through the lens of design and object culture.

Titled As Long As It’s Pink, the exhibition examined how a single colour can carry radically different meanings: from gender stereotypes and consumer culture to feminism, queer identity, and nostalgia.

Through contemporary artworks, design objects, and everyday artefacts, we invited visitors to reconsider the cultural narratives attached to pink.

We never really tried to hide where the initial idea came from, but not everyone realizes that the exhibition was inspired by something as simple as the floor beneath our feet.

The project has since grown beyond Editory. We expanded it with new topics and works by artists and designers from Central and Eastern Europe, and presented the exhibition this May at Collegium Hungaricum Berlin.

We hope our pink floor will continue to inspire new ideas!

If this project were a city, a book, or a record, which would it be and why?
N. V.: We wouldn’t highlight a specific album; however, the record as a format quite accurately describes how we operate: there are a few “top hits” and audience favourites among our programs, and countless others that are also necessary for those standout hits to really shine.

Like on an album, the tone of voice, the visuality, and the promotion of our programs all play an important role. It’s all about creating a cohesive world.

And in the new season, everything starts again, with the same overall goal: to bring people together.

If Editory were a city, it would definitely be one where big-city vibes, constant buzz, and creative energies meet, perhaps Berlin or Amsterdam.

Réka Vikárius and Noémi Viski
Co-Founders of edit & editory
Prints – Events – Office
Budapest, Hungary
instagram.com/editory_budapest

La entrada Editory se publicó primero en ERRR MAGAZINE.

How did this place come about and what made it different from the start?
Barnie’s Café is a small independent specialty coffee shop in one of Budapest’s office areas, created by a former corporate manager who traded meetings and business planning for espresso. It has become a refuge, a community point for those who I used to be. Excellent coffee, welcoming atmosphere, delicious pastries made by Barnie, and special rituals like Croissant at 9:00, Tiramisu Friday, and a community wall made it stand out from the regular cafés. Plus, we deeply love our guests.

What part of the day, space, or creative process do those who work here enjoy the most?
We always think out of the box. We do not put bakery goods on the counter and sell them, but we invite the baker for a collab to introduce their products to our customers. We do not simply sell homemade tiramisu, but we have Tiramisu Friday. We do not just sell croissants, but we have Croissant at 9:00 every day. We do not do barista courses, but we offer latte art team building for business teams. I try to force new inventions regularly, but without a real change in the core.

If someone is coming in for the first time, what should they not miss?
Drink a coffee, order a carrot cake made by Barnie, grab a piece of chalk and leave a vote on the community wall (each week a different question or voting), and take a look at my old concert ticket collection on the wall.

What has been an interesting challenge that has made you rethink something about the project?
I did not have any experience in running a hospitality place, and I did not want to be influenced by people who had long been in the hospitality business, so I tried to ride my own way, which in each case was not the best direction, but in the end it was a great journey. Also, each person who was part of the project changed their careers earlier. E.g. the joiner working on the interior used to be an event manager, the interior designer was a lawyer. That all gave extra creativity and motivation. And, for the first time in my career, I did not make a business plan, I just told myself it has to work, no matter what.

What influence, idea, or reference continues to shape the way you work today?
Being new in hospitality helps being creative with every inch of the project. Making my dream come true helps me be 110% motivated in each moment and keep thinking out of the box.

What place, project, or person has inspired you recently and why?
I try to execute what is/was in my head. I stay away from checking close competitors or trying to steal ideas from Instagram. I talk a lot to customers, think a lot, and try to execute every single idea out of the box. Of course, there are some inspiring stories around: my girlfriend is a cocktail bar manager (Boutiq Bar), and she and their story have been very inspiring to me.

If your space could invite someone to collaborate for a day, who would it be and what would you do together?
Recently I visited a pizza place run by young people in their early 20s. I loved everything about what they do. I would invite them to bake pizza for my customers one day.

Is there an object, corner or detail of the place that has a story that few people know?
Well, we have a stuffed (marten) animal (taxidermy) that I bought in a flea market (I decided to buy the ugliest thing there) — watching our beloved customers 24/7 from the top of the air conditioning.

There are original framed magazine ads on the walls from the early 1960s from my personal collection.

Also, my personal ticket collection is on the wall starting from the 1990s.

If this project were a city, a book, or a record, which would it be and why?
Record: DOWN – NOLA: a collaboration of different people creating a unique, raw, honest album that rocks and left a great mark in music history (I hope for the latter).

City: BERLIN: a very eclectic yet original mixture of different styles, cultures, emotions, and life journeys.

Barna Gajdos
Owner of Barnie’s Café
Speciality coffee, daily soups, croissant, sandwiches, cakes & more.
Budapest, Hungary
instagram.com/barnies_cafe_

La entrada Barnie’s Cafe se publicó primero en ERRR MAGAZINE.

How did this place come about and what made it different from the start?
Studio 103 grew out of something practical that quickly became something much bigger. Máté was looking for an external venue for a concrete workshop course he teaches at the Budapest University of Technology, but the moment he stepped into the space, he knew he didn’t want to limit it to a handful of students.

What made it different from the beginning was its sense of openness and generosity. The opening test week offered free workshops, and the launch party attracted nearly 100 people. That energy, built through collaboration with around twenty companies contributing drinks, pastries and pizza, set the tone. It wasn’t simply a studio. It had already become a community before it officially opened.

What part of the day, space, or creative process do those who work here enjoy the most?
Sitting down with people, listening to each other’s stories, laughing throughout the creative process and building genuine connections. The social dimension, the conversations that happen while everyone’s hands are busy making something, is what seems to matter most.

If someone is coming in for the first time, what should they not miss?
Ceramics would be the obvious answer. It has been a favourite since the beginning and now runs twice a week with six different artists rotating through the programme. Linocut printing, spoon carving, felting and jewellery making are equally popular.

The monthly Taste of Well-being wine tasting is something genuinely unexpected. Led by a work psychologist and a WSET-certified wine expert, each session explores themes such as burnout, setting boundaries or renewal through the stories and character of different wines. It’s difficult to find that combination anywhere else.

What has been an interesting challenge that has made you rethink something about the project?
The financial reality became clear very early on. The rent alone exceeded the original budget before anything else had even been planned. Rather than increasing prices, which would have gone against the studio’s goal of making creativity accessible, Máté chose the opposite approach by increasing the number of weekly workshops from two or three to five or six.

The experience reinforced something he already believed: moving forward requires the courage to ask for help and to open yourself to others.

What influence, idea, or reference continues to shape the way you work today?
A year spent working in the film industry taught him, by contrast, exactly what he didn’t want: feeling creatively constrained, unable to grow and stuck.

That experience crystallised the principle that now defines Studio 103: don’t wait for opportunities, create them yourself. It’s reflected in everything the studio does, from the Art Exchange programme supporting emerging designers to its mentorship scheme, which helps young creatives develop ideas into prototypes.

What place, project, or person has inspired you recently and why?
Two things have been particularly inspiring recently.

The first is the possibility of moving into a larger space after the district council announced new commercial units for rent. A bigger studio would allow the open workshop concept to evolve even further, with dedicated ceramics, printmaking and woodworking studios operating simultaneously rather than on rotation. It would also create room for a Hungarian craft and design shop showcasing work by local makers, something that has long been part of the vision.

The second is the arrival of a Risograph machine. It has opened an entirely new range of creative possibilities through its distinctive visual language, approach to colour and texture, and strong connection to community print culture. It’s already inspiring new workshops and future collaborations.

Both developments feel less like finished achievements and more like open doors, which is perhaps exactly the kind of inspiration that defines Studio 103.

If your space could invite someone to collaborate for a day, who would it be and what would you do together?
Someone who is full of ideas and eager to build community but lacks the environment to make those ideas happen.

More concretely, universities and their graduating students. There are countless projects that don’t fit neatly into academic structures, ideas that formal education doesn’t always know how to support. A collaboration would create space for those projects to exist through workshops, experimental sessions and side projects that deserve to become reality.

Is there an object, corner or detail of the place that has a story that few people know?
One of the most personal objects in the studio is the SOL No. 2 lamp, designed by Máté and recognised with a Big See Award. The goldsmith who helped produce it now teaches workshops at Studio 103, turning a single collaboration into an ongoing creative relationship.

The studio’s name also has a hidden story. The number 103 isn’t a street address or a random choice. It was Máté’s admission number when he applied to MOME, the Moholy-Nagy University of Art and Design. The studio was originally imagined as his own private design practice, and that number still carries its origin story.

If this project were a city, a book, or a record, which would it be and why?
Budapest.

Layered, slightly unpredictable, constantly evolving and full of contrasts. It brings together history and new creative energy, and its most interesting moments often emerge from unexpected encounters: conversations that weren’t planned, techniques you’ve never tried before and people you would never have met otherwise.

Studio 103 hopes to be exactly that kind of place, where different disciplines, ideas and people can exist alongside one another and create something none of them could have made alone.

Máté Csapody
Founder of Studio 103
Community, architecture, workshop and creative space.
Budapest, Hungary
instagram.com/__studio103

La entrada Studio 103 se publicó primero en ERRR MAGAZINE.