Frequently Asked Questions (FAQ)

The main idea of this memorial is to convey the elevated life philosophy and the purity of Istvan's inner world Istvan, so that others, passing by or spending time in this place, can feel this elevation.

The author of the artistic concept and form is Alexander Babel. He is responsible for the artistic, spatial, and content-related aspects of the project, as well as its phased implementation and integration into the urban environment.

The project is intended for all residents and visitors of the city — without age, social, or cultural restrictions. It does not require specialized knowledge nor a “correct” way of perception. Every viewer can engage in their own dialogue with the work.

The project intersects all three areas. It is an artistic expression, creates an architectural space, and simultaneously serves a public function as a place to stay and interact.

Yes. The project was designed specifically for this location, taking into account its history, concept, theme, and scale. It is not intended for serial reproduction.

No. The project deliberately avoids the classical form of a monument. It does not commemorate an event or person, but offers an open, contemporary form of artistic presence in the city. This is not a memorial of sorrow or a monument of distance. It is a place of living memory, where love, joy, and presence matter more than solemnity.

During our last meeting with Istvan, we watched an animation of the planned composition at this location, which at that time was intended for a completely different theme.

Yes. The project deliberately blurs the boundaries between private and publicly perceived space.
The square remains private property but will be open and accessible for free presence.
Through continuous paving with the sidewalk and its open character, the space will feel part of the urban environment.
This is a conscious artistic and urban planning decision, not a closed private area.

The sculpture will be created from memory, based on how Istvan looked during personal encounters. Photographs may be used as supporting material.

The depiction will be realistic. The artistic solution is independently developed and replicates the real image.

No. The project is not associated with any religion or denomination. Its spirituality is human: love, kindness, harmony.

Because Istvan's life was closely connected with nature, which he loved and celebrated in his work.

The process includes concept development, sketches, digital and physical modeling, maket creation, casting, finishing, patination, and installation.

Yes, for the figure. The time-tested technique of lost-wax artistic casting is applied, adapted to modern design methods.

Yes. The model is an essential part of the process and serves to verify proportions, plasticity, and interaction with the space.

Typically, in a reduced scale (e.g., 1:5 or 1:10), followed by a full-scale model.

Discussion with the city and stakeholders is provided. The artistic solution, however, remains coherent.

The project author makes the final decisions and assumes full artistic and conceptual responsibility.

Changes are possible during the concept and model stage. Once casting begins, changes are limited and mainly technical.

The process includes 3D modeling, 3D printing of sand molds, casting of elements, on-site welding, subsequent finishing, patination, and installation on the foundation.

First, the bench is made, to which the framework for the obelisk is welded, then the heart, flame, and rings of the tree crown – all 3D printed. The obelisk base, obelisk, waves, roots, and trunk – are created using classical casting.

Not for the composition — it is not considered necessary.

The final decisions are made by the project author, who bears full artistic and conceptual responsibility.

A high-quality artistic bronze alloy resistant to atmospheric influences is used.

The figure of Istvan will use nickel-alloyed bronze.

Various natural or artistic patinas are possible — from warm green or brown tones to dark or black shades. Combined or golden patinas are also possible.

Bronze is one of the most durable materials for outdoor sculpture. With minimal maintenance, its lifespan spans decades or even centuries.

Typically, the sculpture is hollow, which is standard for large bronze works and ensures an optimal balance between strength and weight.

This approach combines artistic freedom, technical reliability, and long-term durability of the result.

Yes. Modern digital technologies are used as tools but do not replace artistic work and craftsmanship.

Obelisk height: 10.5 m; tree height: 5.5 m; flame height: 6.7 m; bench length: 5.5 m.

Approximately 3 tons of bronze.

A foundation is required, a pedestal is not.

Installation is carried out directly by the project author, who owns the site.

Yes. The project was originally designed for year-round outdoor display.

Theoretically yes, provided technical conditions are met.

The project is designed as stationary but does not exclude the possibility of relocation.

The work may take approximately six months.

Theoretically yes, but this is not the goal of the project.

Since fabrication and installation are carried out directly by the project author, the timeline depends on him, considering various circumstances.

As of 2026, the project is in the stage of sequential concept implementation.

Because the project prioritizes long-term quality over quick results.

Design, materials, casting, finishing, patination, installation, transportation, welding, and related work.

Yes. The project was originally planned for phased implementation.

Yes, various forms of support are considered.

Yes, a preliminary budget has been prepared and will be updated as each stage is realized.

Exclusively for project implementation and associated work.

All funds are allocated solely to:
• material procurement
• mold creation
• bronze casting
• transportation
No expenses are planned for marketing, administration, or unrelated purposes.

Author’s work, permission to place the sculpture on private property, and costs not directly related to creating the object.

Every effort will be made to ensure the project is realized.

Yes, organizational, professional, and informational support is possible.

Yes. The project allows individual forms of participation beyond financial support.

The copyright for the artwork, its form, imagery, and concept belongs to the project author. This includes both the sculptural elements and the overall artistic design of the square.
All individual elements are part of a unified artwork and are not considered separate objects. The final artistic decision and form of integration remain with the project author.

No. The square and the plot at the intersection are privately owned. The owner has the right to independently determine the use, design, and naming of this area.
Implementation of the artwork will comply with current building regulations and all mandatory standards and requirements.

Yes. Despite private ownership, installing a structure of significant height requires a building permit. Compliance with construction, structural, and safety regulations is necessary.
It is intended that the artwork will be included in the overall building and reconstruction project.

No. The artwork is created as a unique object, intended exclusively for this location and cannot be reproduced.

Yes. A certificate of authenticity will be provided, confirming authorship, uniqueness, and originality of the work.

The owner of the object is responsible for safety in accordance with applicable law. Structural and technical solutions are designed with visitor safety and surrounding buildings in mind.

Yes, it is possible.

Minimal and periodic maintenance is required.

Restoration and patina renewal are possible.

Yes, this is a natural and noble process.

The owner, who is also the author of the object.

Yes. They are considered part of the living interaction with the artwork.

Bronze is a noble and durable material with a deep artistic tradition. It ages gracefully and retains expressiveness for decades.

Bronze is better suited for combining sculpture and functional object.

This is necessary for strength, stability, and durability.

The project combines modern technologies with classical craftsmanship. 3D modeling allows precise and reproducible forms and reduces technical risks in early stages. Manual work begins where machines end: in casting, surface finishing, patination, and final on-site installation.

The sculptural composition consists of several large segments, which can be made separately and then gradually completed.

The project is very extensive.

The project is designed from space to figure, not the other way around. The bench will occupy its place first, based on the existing CAD model. It provides a visual reference for the figure’s placement and helps form the foundation for subsequent sculptural elements.

Each element has meaning: openness, presence, and calm observation.

Because love was central to István’s life philosophy. The project does not illustrate this idea but creates a space where it is felt.

At home and in the yard, István walked barefoot, connecting with the earth and nature. The figure is at eye level to emphasize no distance. István is neither above nor below the viewer — he is alongside.

Waves, circles, and flowing forms reference the state in which István sang and was happy.

István’s life flowed calmly, without rush; there were no clocks in his home. Hence, the language of fluid forms is used, with smooth transitions between elements. Each element symbolically reflects István’s image. The figure itself is realistic.

It creates a connecting point between the building, street, and intersection, forming a place of pause and attention. Form, scale, and material correspond with the architectural context of the square.

For many reasons: the open square is at a busy intersection, accessible by pedestrian and bus routes; across the street is the historical former gymnasium building, potentially a public facility.

Legally — no. It remains private property. Perception and use — yes. The space is consciously open, accessible, and integrated into the urban fabric.

No. Istvan Sky Square is designed as a cultural and public space. The project does not aim to generate profit.

Because the goal is durable quality and responsible treatment of space. The project was never meant to be temporary. Memorial spaces require materials and solutions designed to last decades. Saving by making it temporary would contradict the project’s core idea.

More likely not than yes. Minor additions may occur, but the integrity of the concept will be preserved.

Yes. The sun composition includes separate diamond-shaped elements that can be individually designed. They should complement the artistic concept rather than serve as plaques or signatures.

Symbols, abstract motifs, or images linked to personal stories, memories, or a connection to István. Decisions are made in dialogue with the author and conform to the project’s artistic language.

No. The project deliberately avoids names, logos, or direct references. It is about quiet presence and personal memory.

Yes. Individual artistic design of elements is possible within the framework of significant contributions to the project. Specific forms are discussed individually.

Yes. Touch and physical interaction are central. The bench, figure, and space are designed for a person to be inside the composition — physically and emotionally.

Yes. This is a deliberate artistic choice. The figure is not separated, elevated, or protected by distance. Hugging is a form of dialogue and participation.

Signs of touch, time, and presence are not concealed. They are considered part of the artwork’s life.

We believe it is needed not only by us, who love István and value his work. The sculptural composition and the aesthetics of this space can attract passersby, spark curiosity, invite people to sit, reflect, and engage with István’s work and its meanings. Additionally, this memorial will improve the intersection, give it a cultural appearance, and provide a place in the city where one can simply be.

Because quality, materials, and durability come at a cost.

Because the goal is not merely to make it simple or complex, but to make it beautiful, cozy, meaningful, and aesthetically pleasing.

We work every day to make it faster.

It is for those who care about the surrounding world, who want to see it kinder and more beautiful, and who want more than just a wooden bench.

“More important” city problems are beyond our competence.