In our concept we sought the possibilities of renewal by creating continuity. In renovating and extending the parish building, we started from the built heritage and shaped the architecture in dialogue with the existing values. The ensemble of the Church of Saint Anthony of Padua and its monastery was designed by Gyula Rimanóczy in 1933. The complex is a listed monument and one of the most significant works of Hungarian modernist architecture. The single-storey, L-shaped extension and arcade surrounding the quadrangle, built later in 1948, were not part of the original ensemble of the church and monastery. The usable area of the parish has increased while the mass of the building has essentially not grown, which was an important part of the architectural concept. In this way, the earlier system of proportions of the ensemble could be preserved. The height of the new part, built in place of the former single-storey L-shaped wing that was in poor technical condition, matches the height of the wall of the Saint Joseph statue that remains adjoining the Csévi utca facade, so it causes no significant change in height. According to our concept, by minimally lowering the level of the quadrangle we were able to fit two floors into the new wing without significantly increasing its height. This also has the advantage that, whereas previously there was a half-level offset between the floor level of the single-storey wing and the levels of the monastery building, with the new design these could be brought to the same level, and we could lower the previously high parapets of the windows of the catechism rooms in the basement of the monastery. The new part does not burden the mass of the church and monastery with a prominent volume, so Rimanóczy's original idea of closing off towards Csévi utca with a solid wall is retained. With the renewal of the arcade, the coloured stained glass windows of the church's side chapels, made by Lili Stehlo, are freed and can be seen again in their original colours. The columns and arches of the earlier arcade almost completely covered the stained glass windows, cutting them off from natural light outside. The renewed, more delicate arcade, with half as many piers as before, does not weigh upon the mass of the church. We kept Miklós Borsos's work, the Saint Francis fountain, in the quadrangle. In the renewed state, the windows of the rooms face the quiet quadrangle, and on the corridor facing the busy street, a perforated fine-concrete screen placed in front of the windows forms a filter that breaks direct views in from outside and creates an exciting play of light and shadow.