Resume

László Almásy Dévai - C V/Resume

Interior, Furniture, Product and Visual Communication Designer, Photographer, Lecturer

Contact: Web: - home: www.laszloalmasy.eu - contact: http://www.laszloalmasy.eu/almasy-contact.html E-mail: [email protected] Phones: Tel: +3630/ 358 56 75, Tel, Viber: +3630/ 850 50 65 Skype: laszloalmasy For information on the phone please feel free to contact me during local regular business hours CET. Current time at my location: http://www.laszloalmasy.eu/almasy-contact.html

w w w. l a s z l o a l m a s y. e u

László Almásy Dévai - C V/Resume

Language skills: ź ź

English Hungarian

High advanced Native

Design skills: ź ź ź ź

Product, furniture, interior, exhibition, tv-set design Video photographing and editing Photography Web design

Educational Awards: ź

2007 - 2008 Professional Scholarship, Coppenhagen, Denmark Granted by the Danish Ministry of Culture and the Institute of Danish Culture

ź

2007

Nivo Award, Pécs, Hungary Granted by the 2010 Pécs Cultural Capital of Europe Council, Pécs, Hungary for creating the Pecs’s

Design Centre Project

ź

1998 - 2000 British Council Art Scholarship Granted by the British Council, London, England, sponsored by Soros Foundation Hungary, Budapest

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1998 Design Future, Design Education International Seminar Granted by the British Council, London, England,

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1997 Honorary Award, Budapest Hungary Granted by the Hungarian Ministry of Culture for writing the academic curriculum for the Department of

Digital Design, University of Pécs

ź

1995

3rd place CorelDraw International Design Contest, Toronto, Canada Granted by CorelDraw, for high achievement in TV set-design

C V/Resume

Employment history: ź

2014 - current OpenOrient Budapest, Hungary Art Director

ź

2013

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1998 - 2012

Gemma Interior Budapest, Hungary Art Director, Designer of products (specified purpose contracts)

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2005 - 2010 Noki Eyewear, Budapest, Hungary Lead Designer (temporary, specified purpose contracts, full time)

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2005 - 2012 “Pécs, the Cultural Capital of Europe 2010” city design project, Hungary Project Leader (voluntary)

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2006 - 2007

Rubinszki Advertising, Pécs, Hungary Art Director, Photographer (full time)

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2004 - 2006

QX-Impex Ltd., Pécs, Budapest, Hungary Art Director, Interior, Graphic and Brand Designer (full time)

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2004 - 2005 Zsolnay Porcelain Manufacture, Pécs, Hungary Designer (specified purpose contract)

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1994 - 2004 PTV Television, Pécs, Hungary Brand, Set and Visual Communication Designer (temporary, specified purpose contracts, full time)

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1998

“Design Future, Design Education” international seminar, London, England Representative of Hungary (specified purpose contract)

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1997 - 1998 Hyatt Jazz Club of Mainz, Mainz, Germany Graphic, Brand, Furniture and Interior Designer, (specified purpose contract)

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1996 - 1998 Faculty of Arts, PTE (University of Pécs), Pécs, Hungary Lecturer in design (full time)

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1996 Local Television Association in Hungary, Budapest, Hungary Art Director, Brand Designer (temporary, specified purpose contracts)

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1994 - 1996

Department of Communication, PTE (University of Pécs), Pécs, Hungary Lecturer in visual communication, visual language and the history of the motion picture (full time)

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1987 - 1989

Raffles Design Intitute Dhaka, Bangladesh Interior Design and Visual Communication (photoraphy and web design) Lecturer

ANK Art School, Pécs, Hungary

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Personal particulars

Name (as in Passport, underline surname):

Almásy Dévai László (Almási László)

Passport: European Union/ Hungarian Citizenship: European Union/ Hungarian Address: Almásy Dévai László - 8638 Balatonlelle, Mátyás Király utca 150. (HU) HUNGARY

Educational qualifications

Level

Institution

Primary

Period attended

Qualifications obtained

from

to

Primary School, Pécs

1973

1981

Secondary

Janus Pannonius Secondary School, Pécs

1981

1985

Polytechnic

Károly Simonyi Polytechnic, Pécs

1985

1988

Advanced Diploma of Photography

University

Moholy-Nagy University of Art and Design Budapest ( former Hungarian Industrial Arts College )

1989

1991

Bachelor of Arts in Visual Communication

School Leaving Certificate

School Leaving Certificate

validated for the European Union and the Asia Pacific Region, for the U.S.A. a formal procedure

Other professional qualifications, courses a ttended

Course

Institution

Period attended from

to

Qualifications obtained

Design Future & Design Education Seminar London

Royal Collage of Art, Design Council

1998

1998

Certification

British Council International Scholarship

Royal Collage of Art, Design Council, Royal Society of Art, Design Museum

1998

2000

Certification

Individual program sponsored by Danish Art Agency Copenhagen

Danish Art Agency, Danish Design Center, Danish Design School, Index Award

2007

2008

C V/Resume

Computer software knowledge I have good knowledge in all computer platforms: Windows, Mac and Linux. I am fluent in the most relevant CAD design, graphics and web designer programs. Good at HTLM programming language and Flash. I am ready to study more specifically if needed.

References

Name

Dr. Hoppál Péter

Contact no.

Occupation

Pécs Megyei Jogú Város Polgármesteri Hivatal, (City Council of Pécs) 7621 Pécs, Széchenyi tér 1.

+36 1/795-1200

Member of National Assembly (Hu) Head of the Committee on Education and Culture

8

+36 72/501-500 /2502

Head of Department, Associate Professor Faculty of Natural Sciences Pecs University

17

+36 30/298-6747

Anthropologist, Lecturer in English Literature

9

Dr. Husz Mária

Pécsi Tudományegyetem (University of Pécs) Felnőttképzési és Emberi Erőforrás Fejlesztési Kar 7633 Pécs, Szántó Kovács János u. 1/b.

Osztogonácz Edit

Alma Nyelviskola, 7633 Pécs, Erreth Lajos utca 25.

I declare that the above information given by me is accurate and true.

Signature:

Years known

Address

Links to online documents: w w w.laszloalmasy.eu

Blueprint sample:

High resulution design samples:

We b:

Video samples:

Portfolio/ furniture design 1998

Portfolio/ interior product design 2004-2006

Portfolio/ interior product design 2004






Portfolio/ furniture design 2010-2011

Portfolio/ furniture & interior product design 2002-2007

Portfolio/ television brand/ set design 2006




Portfolio/ television brand design 1999

Portfolio/ graphic design 2003



Portfolio/ fashion assercories/ eyewear design 2005-2010

Portfolio/ fashion assercories/ eyewear design 2005-2010

Portfolio/ sport products/ hydrofoil trimaran sailboat 2009-2011

Portfolio/ photography 1992



All images, products, paintings and photos are designed by László Almásy Dévai.

Recommendation/ publication by Mária Husz

Post modern Design and Sight-Furniture Almásy Dévai László – while not yet a prophet in his own country - represents the leading bunch of the current, latedeconstructive global art trends. Any of the “all-media” artists frequenting the international scenes may become envious of his Internet homepage. Each of his area of activities – furniture, interior design, scenery, multimedia, painting and video – bears the imprint of an artists’ personality who is internationally oriented, ambitious, and able to locate and evaluate himself. They radiate the same multi-cultural domination of forms, and the same ability to create a style which is spectacular and romantic, subjective and reserve, building on high-tech and minimal elements, aiming at fascination and self-confident at the same time. This perplexing manifestation of unity, diversity and triviality could be the best – as there is no better – brought into connection with the concept “medium”, that merges artistic forms, and has the meaning of the state-of-matter, belonging to post-modern, which was many times believed to have come to its end, but no better was found yet instead of it; “medium” in that stage when the heroism of contemplation has alteady trivialled to adaptability. This revitalising medium which is capable of making extraordinarily strong sensual and intellectual effects, seems to be spreadable to any directions with Almásy. It is constructed of co-existing, diverse and, many times, unmatchable intellectual layers, which sometimes overlap creakingly, where the reference system of interpretation is floated. The loomingly realised sociocultural layers or those from the history of styles deconstruct while turning into parts of an individual, polyphonic and levelling paradigm, and the self-confident, rational and irony-free superiority of the creator’s basic ideas blanks out the hardly emerging associations with each other. It is not a theoretical – critical attitude that he creates toward the metaphysical preliminaries or to those from the history of art, but he considers them as the material of his language. Obviously, it is not the artistic form that determines the thought but a concrete thought is the one, which finds its medium or technology. Almásy graduated at the Hungarian College of Applied Arts as visual communication designer in 1992. He worked as image- and scenery designer at the local television station at Pécs, while at the Faculty of Arts at Pécs University he developed the curriculum for the department of electronic imagery. From 1997 he worked in Germany as a graphic artist, interior designer and furniture designer. After that he attended the post-gradual courses of Royal College of Art, Design Council and the Royal Society of Arts in London, for two years. He has made himself master of the most modern computerised modelling technologies, conducted research in the area of interactive media and studied the British design. His current works are from the area of interior design and television image-design. The essence of his attitude is in the creation of space. He subordinates the applied graphics job, even the web and multimedia appearance, to the requirements of visual image. It is better for the customers too that they have to keep in touch only with one designer. Both the elements of decoration and the furniture operate simultaneously and together in the futuristic space, being subordinated to that. A real or pseudo-functional environment is being created from them. The focus of his designer activity is furniture, interpreted as an element of interior design which, as being traditionally the primary mediator between the human being and the outside world, has special extra contents of intimacy. The furniture is made to satisfy our physical needs – rest, eating- as the continuation of the personal sphere, extension of the human being but at the same time, carrying symbolic contents. Expresses its user's self-image, social status and taste, and determines its way of use. Each epoch of art has created its own version of furniture which represents the same way the epoch’s conception of the universe, interpretation of the human being and technical skills as its counterparts in grand art. Robert Venturi used doll-like baluster ornament and “grandma-pattern” at his Queen Anne chair in 1984, while Tomas Taveira applied rubber footpieces for his tympanum chair in 1983. Forrest Meyers rolled up a fauteuil from aluminiumwire with pulverised cover in 1996. They are determinant examples of any art encyclopaedias on post-modern. However, they interpret furniture as a sculpture. Cultivating furniture-art in fine-art quality without real demand in the society for that is impossible – especially in Hungary. Almásy Dévai László’s furniture in most cases are designed for individual functions, as parts of concrete intérieur-orders, made in his self-established interior designer workshop, for a unique environment, a bar or a shop, and they are provenly market-conform. The family of furniture under the brand name of Gemma, accounting on orders from high-end customers, was designed by the latest, fifth-generation computer modelling technology and was made by handicraftsman’s care (another dissonance). One sits differently near a heavily fixed iron table or in a chair made from perforated steel plate than in any upholstered mass-product. When we have defined the hows of this difference, we have found out something about Almásy’s world too. These provoking things to sit on, made from metal, wood or glass, are aggressively sensual and material. Their sensory existence relates to something unimaginable, through first of all a discursive apprehension of their own creation and origin. The calculated dissonance of the diverse materials, colours and technology is irritating: the shocking marks of industrial production, like recognising a flame-cut, welding, perforation, or a ribbed plate normally used as sewer cover. This is the opposite of transparency and nontransparency. The uncoveredness of structure, moreover, the raising of it to self-value. Double-highlighting the possible beauty of the material itself by polishing a sheet of granite or by a carefully made bourgeois yellow holstered cushion. Almásy’s objects of interior decor are based not on stereotypes; their intention is, on the contrary, to strongly differ from any usual. He plays off the esthetical effects of the tensions between details. At the borderline of the calculated

Recommendation/ publication by Mária Husz

possibilities his ethereal forms are converted into their opposite and his pierced masses openly disclose their structurality. Their individual graphical motives “start speaking” in front of a neutral or empty background as well as they might highlight with their contrast the own values or individual details of an archaic building or space. This furniture carries extra information about space and identify themselves with the message of space. Their primary function is sight; thus they can not be questioned for functionality. He strips down the citations taken from the history of furniture (tablelegs with Empire style lion claws, the tracelines from Biedermeier, or from the sphere of nostalgia of the modernism of the sixties) until the basic principles of statics while coquetting even with the phantom of blasphemy, so the quoted elements remain in a stage still before they are brought to consciousness and realised. The naturalist view of rough and startlingly material-like technology captivates the spectator but the vegetal- and antropomorph symbolism (drop-shaped and round perforations at Mira suite and the mild curves at Capella coffee table), respecting, moreover serving the humane functions, and the selection of titles from the area of astronomy create such a contrast from which the imprint of chaos or irrationality on the one hand and that of the antagonism of our current world on the other hand emerges. And this is why they are so familiar. The spider-legs of Mira armchair turn inward like rods leaving the impression of in-stability, being ethereal and clodhopper at the same time with its unusual proportions. The emotional layers of the six table-leg supports that resemble of paper-cuts from our childhood (belonging to Mizar table, which is considered as especially important, reproduced many times and painted white) are broken up to pieces by two technicist, rod-like legs and the resolutely repeated (with a shift in scale) cross-pieces, while the star-names knocks the associations of un-calculable, infinite unfathomable future with those of the past and tradition. However, these are just those dissonances built on colour-contrast and cultural metaphors that constitute that sovereign medium and that deliberately created “clean visual language” which makes possible to approach the objective of the artist, that is, to create such an intellectual value which “radiates a feeling of life as well as the trends of the era, modern but receptible, emotionally captivating, and capable to dissolve, through the power of personality, the feeling that our world is far too much technical”. The thought about beauty and lofty which was revived both in the art and philosophy of post modern gets a specific actuality here. Beauty is something, which satisfies certain demands with the humane-social specifics of harmony, unity and completeness, creating delight this way, whereas lofty is laden with ambiguousness, causing delight as well as aversion. This experience of ambiguity brings about a bad feeling, but an approval too, as it makes us realise that we have such concepts that go beyond observation. Dissolving of techniques and philosophy in each other and their reciprocal erosion is familiar also in the world of Almásy Dévai László’s visual designs and decorative paintings, like when vision emerges from layers that are painted on both sides of glass sheets that are put in front of each other, thus being concretely three and two dimensional as well, featuring the dimension of time too. The ambivalent interpretation of space, the dissonance of space and plain does not exclude the calculated and effective placement of visual stresses, focal points and tensions. He does not refuse the riverheads of video- and electronic manipulation either. Sterile and shocking colour-dynamic effects emerge from the strong contrasts of abstract shades that are disgusting and fascinating at the same time. A broken photo manipulated with bundles of colour, spots and lights, is generally an excellent basis for picturesque gestures. Various cultural plains are projected on each other from intellectual, formal, historical and technical aspects (geometrical and lyrical abstraction – computer graphics). This is how both the virtual and the interior world become decorative but not mechanical, witty and fresh but not eclectical. And this is the place where the “medium” of Almásy Dévai László’s talent can be captivated. In the documentation, instead of the photographs that might look more incidental, the virtual pictures of objects are on display, made by electronic-cybernetic methods stimulating the correct structure of the object and emphasising the feeling of space by projected shadows, but excluding the deceptive illusion of foreshortening. What is reality? What is truth? – these questions are left behind us long time ago as the age of Cartesian modernism came to its end. The Existence is hidden from human beings by their historical product, “civilisatum”, possessing it and drawn away from it. Almásy’s generation grew up in this civilisation which bestrides the present and prescribes the future: for him this is and this will be what is normal. This ruthlessly galloping world is the one where he also has to be very good, so he is productive and determined. His most important intention is to develop such a tool of expression, with what a CentralEuropean artist may go anywhere he chooses and becomes able to communicate without limitations, internationally. The history of his collection goes back to not more than five years from which three years were spent by studying. His medium is such a post modern state in which a highly accomplished and up-to-date creator free from pathos and irony can move if he wants to make a career to answer the challenges of the European markets of arts and knowledge. Such an attitude is a “must-have” in other professions and sciences today. Almásy is capable to conquer the world this way, on the plain of visuality. Mária Husz Head of Department, Associate Professor Faculty of Natural Sciences Institute of Adult Education and Human Resources Development Department of Cultural Studies Published by Hungarian Design and Craft

Recommendation

Recommendation

Recommendation

Recommendation

Recommendation

Recommendation

Recommendation

Review/ awards & scholarships





Received Scholarship granted by Danish Art Agency Copenhagen

Review/ exhibitions & publications

I participated with success in several Hungarian and international exhibitions not only as a designer but also as a media and fine artist. Article published in "Beszélő" a Hungarian cultural magazine, following an exhibition which took place in Budapest Műcsarnok Gallery. I am photographed next to my installation piece titled "Killer" sponsored by Soros Foundation U.S.A..


Award granted by the Project Council of the “Pécs the Cultural Capital of Europe 2010”


Article reporting on an international exhibition in Madrid here I have presented my installation piece, titled "Nudes".



Baranyaiak külföldön: Banglades is lehet Kánaán 2013. április 14. 19:12 Mészáros B. Endr e (Dunántúli Napló)

Almásy Dévai László elismert pécsi iparművész, olasz cégnek alkotott itthon szemüvegeket, és szállodák vették fém bútorkompozícióit. Megjárta iparművészként a londoni BBC-stúdiót, Dániában hajókat tervezett, most mégis a világ egyik legszegényebb országában, Bangladesben vállalt munkát: magánegyetemen tanít.

– Mi v itte Ázsiába, hiszen Eur ópában is jól boldogult? – Mindig kiváló körülmények közt élhettem külföldön, sok esetben jobban, mint az ottani átlag. Elmondhatom azt is, hogy nagyságrendekkel jobban megbecsültek kint szakmailag és anyagilag is, mint itthon. Ennek ellenére sosem terveztem, hogy másutt élem le az életemet. A külföldi munkavállalásokkal az igazi célom a szakmai kihíváson túl a karrierépítés volt, no és a kíváncsiság hajtott. Mert nemzetközi pályán gondolkodom, melyet lépésről lépésre formálgatok. Ugyanakkor legyünk őszinték: az emberek itthon elvesztették a jövőképüket, és ezzel én sem vagyok másképp. – Ez a jöv őkép pont a v ilág legszegényebb országába v ezet? – Logikus lépés volt Ázsia felfedezése, így kapóra jött a szingapúri Raﬄess Egyetem meghívása, hiszen több mint húsz országban jelen vannak a térségben. Bangladesről pedig tudni kell, hogy a világ egyik legdinamikusabban növekedő országa. Nem véletlenül hatalmas itt az amerikai, szingapúri, ausztrál és német jelenlét. Én Dhaka, a főváros elit negyedében lakom és dolgozom, innen viszont nehéz megmondani, hogy mekkora is valójában a szegénység. Ám elképesztő a másik véglet is: zavaróan mihaszna gazdagsággal is találkozik mindenfelé az ember. – Hogy telik egy hete?

Almásy Dévai László nagy terve egy önálló márka létrehozása

– Dizájner magánegyetemen tanítok, heti öt órában. A többi időmet a felkészülésre, a szakmai fejődésemre fordíthatom. Teljesen kiszolgálnak, az egyetem bérli az apartmant a követségi negyedben, házvezetőnővel, szolgálati autó hoz-visz mindenhová. Ami hiányzik, az a család, a barátok és az a kultúra, ami a mai napig a személyiségem meghatározója. – Milyen színv onalú egy ázsiai egyetem?

– Nagyobb a szigor, kisebb a hallgatók szabadsága, kicsit középiskolásabb a stílus, és naprakész, sokkal gyakorlatiasabb a képzés. Az egyetemi tanár viszont nagyságrendekkel jobb körülmények közt él itt, mint otthon. – Több év r e szól a szerződése. Hogyan tov ább? – Lehetőségem van más országokban lévő Raﬄess-egyetemeken folytatni a tanítást, a szingapúri központ mellett, Kuala Lumpur, Malajzia lesz a következő, ahova mehetek. De megérte ide jönni, mert hatalmas felfedezés ezt az álomszerű, sokszor naiv, barátságos, rendkívüli érzelmeket magába foglaló kultúrát megismerni, s látni egy nemzet ily mértékű felemelkedését. – Gyakran hazaugrik? – Budapest és Dhaka közt kényelmes járat van a hét szinte minden napján. Mégsem jövök sűrűn, mert abból a pénzből két-három izgalmas ázsiai város vagy tengerparti üdülő is elérhető. – Kinek jav asolná ezt az életet? – Amellett, hogy kiválóak a feltételek, igen kevés embernek ajánlanám. Itt ugyanis nincs szükség olcsó munkaerőre, errefelé idegen csak komoly nyelvtudással és kiemelkedő szakmai háttérrel tud boldogulni. Akiket viszont leszerződtet egy multi, azok biztonságban megtalálják a számításaikat. Továbbá tapasztalt üzletembereknek lehet még kiváló lehetőség Banglades. Számomra egyébként az az út fő tanulsága, hogy nem szabad hinni az sztereotípiáknak, mert a világ gyorsan változik. Utána kell járni a dolgoknak a megszerzett tudás pedig kiváló ugródeszka a következő kihíváshoz.

Kis kézművesország, nagy kifutással Banglades a világ egyik legolcsóbban gyártó országa, jól képzett, angolul beszélő helyi szakemberekkel, valamint hihetetlenül ügyes szakmunkásokkal, kézművesekkel. A világ első számú ruha- és textil-előállítója, rendkívül igényes bútorok és lakberendezési tárgyak gyártója, szóval egy iparművésznek fantasztikus terep – összegzi ázsiai munkavállalásának indítékait Almásy Dévai László. Hozzátéve azt is, hogy a tanítás kiváló lehetőséget nyújt számára az angol nyelvtudását előadói szintre emelni, de jó ugródeszka a dizájnertevékenységhez is, mert a szakember a jövőjét nem tudja elképzelni tervezés nélkül. Ehhez pedig újabb biztos hátteret teremt az ázsiai helyismeret, az új barátok, szakmai kapcsolatok. Ugyanakkor manapság már kötelező elvárás egy komoly tervezőtől az ázsiai tapasztalat. Almásy Dévai László pedig arra készül, hogy a megszerzett (magyar, európai és ázsiai) tapasztalatokkal önálló brandet, márkát épít a jövőben, vagy egy elismert nemzetközi cégnél folytatja a tervezői munkát.

Article published in "BAMA" a Hungarian online news portal, reported my academic work in Dhaka Bangladesh.

Review/ exhibitions

Review/ exhibitions

My solo exhibition presenting my media and fine art works.

Review/ exhibitions

My solo exhibition presenting my media and fine art works.

Resume

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