I have found in Campina, a beautiful town north of Bucharest, on Prahova Valley, during the preparation of the last year’s architectural tour in that location, an interesting Neo-Romanian house, belonging to the early phase of development of Romania’s national architectural style. That period unfurled between 1886, the year when Lahovary House, the first Neo-Romanian edifice was built by the architect Ion Mincu, and 1906, when this design peculiar to this country, was “codified” within the architecture of the great buildings that functioned as pavilions of the Royal Jubilee Exhibition of 1906 in Bucharest. The Neo-Romanian style subsequently underwent a mature and also a late phase of development until its zenith in the late 1940s.
This wonderful example from Campina dates, in my opinion, from the 1900s, exhibiting a mixture of Neo-Romanian and Little Paris features, characteristic of the early phase of this design. Specifically Neo-Romanian is the three arched veranda, coloured ceramic medallions or the toothed brick arch above the doorway. Little Paris is the general aspect of the building, a wagon house facing the street, with a typical doorway woodwork and roof finial. The house has probably underwent a series of renovations throughout more than a century of existence, which altered or erased part of its ornaments and other architectural details, the most aggressive such intervention taking place, in my view, in the last few years.
Nevertheless the structure retains enough original elements and details that preserve its original early Neo-Romanian character. The duo-tone processed photograph above emphasizes even more the outlines of this picturesque house, giving us a better idea about its interesting mix of Neo-Romanian and Little Paris designs.
The main Neo-Romanian sector is the three arched veranda, a reference to the Christian holy trinity. That is also seen in the three-lobes forming the arch span. The broken arch feature is a reference to the Ottoman-Balkan architectural traditions of this region, as seen in the local Brancovan style churches of the c18th and early c19th centuries, a main source of inspiration for the Neo-Romanian design. The veranda poles are of ethnographic type, as encountered in peasant houses, another fountain of inspiration for the national architecture.
The most eye catching elements of the facade are the glazed ceramic medallions embellishing the entrance sector or the wall space between the arches and windows. The coloured ceramic on building façades is a Victorian era innovation, that had somehow faint echoes in Romania of that period, seen mostly in early Neo-Romanian edifices. Above is a rendering in that material of a Brancovan church frieze medallion, in its turn inspired from Ottoman-Balkan Islamic architecture. Suggestive for Neo-Romanian is the toothed brick arch, which is an allusion to pre-Brancovan church architecture (as seen for example in Mihai Voda Church‘s brickwork).
I particularly like the yellow and blue coloured ceramic medallions pointing out the wall between the arches that together with the brown-red shade of the façade rendering, which originally was probably a Pompeian red hue, used in the decoration of many early and mature phase Neo-Romanian edifices, make up the colours of Romania’s national flag, a peculiar instance that I encountered in few other examples of houses in this design genre.