Our vision for Budapest

Walk into a typical large-operator co-living unit in Warsaw, Madrid or Berlin and you will find the same thing: white walls, clean lines, generic furniture, adequate lighting. Operationally competent. Spatially forgettable.

Budapest deserves better — and our starting point is different. Every property we touch begins with a genuine spatial concept: the building’s history, the neighbourhood’s character, the materiality of the walls and floors. The result is not a refurbishment. It is an authored space — one with a point of view, worth choosing over the alternative, that holds its value because it cannot be copied.

The pre-war apartment buildings of Districts VI, VII, VIII and IX — 3.5-metre ceilings, ornate stairwells, generous room proportions, layered histories — are structurally extraordinary spaces for co-living. So are the former factory buildings of Józsefváros and the industrial warehouses along the Danube corridor.

No new-build co-living project in London or Berlin can buy this. It is not a constraint to be worked around; it is the asset. Converting these buildings well — preserving their character while making them function as contemporary shared homes — is a design challenge, and one freeform is specifically positioned to take on.

Budapest’s defining residential typology — the ‘bérház’, the internal courtyard building — is architecturally predisposed to shared living. The courtyard is not leftover space; it is the social spine of the building. In the co-living context it becomes the community hub: landscaped, programmed, genuinely inhabited.

This is also how belonging scales. People want to feel part of something human-sized — so community is designed in clusters: a house within a building, a floor that knows itself, never one anonymous mass. One research calls this “social spaciousness” — designing for the accidental encounters that turn neighbours into a community. No operator has exploited the courtyard typology properly yet.

Budapest has a creative identity that is genuinely its own — the craft traditions in ceramics and furniture, the art scene concentrated in some districts, the broader Central European design sensibility. A co-living product that draws on this feels categorically different from one that imports Scandinavian minimalism or Shoreditch industrial as an off-the-shelf aesthetic.

freeform’s position — a Budapest design studio with international exhibition presence and curatorial depth — is to make co-living that is unmistakably here: spaces a resident in Budapest could not find in Amsterdam, and would not want to leave.

The people arriving in Budapest have high expectations of their physical environment; they have lived well elsewhere. The market currently offers them a bedsit or a hotel. Co-living, properly executed, fills that gap — not as affordable housing, but as a genuine residential product for people who want to be in Budapest, not merely housed in it.