I found another old architectural ironwork company plate, this one one the grand doorway of the Neo-Romanian style Marmorosch Blank Bank building in Lipscani area of Bucharest. The plate reads as “J. Haug, Str. Isvor, No. 8, Bucuresci”, the spelling indicating the writing fashions of the 1910s, which corresponds with the period when the building was erected. The metalwork is of highest quality and is easily restorable, although the edifice, one of the most magnificent Neo-Romanian style architectures still in existence, is now left derelict in the very centre of Romania’s capital, in danger of irreversible deterioration, a telling testimony of the lack of care and even awareness of the Romanian authorities and public about their diminishing architectural heritage.
The Fin de Siècle period was a time when the architectural ironwork, expressed largely in wrought iron designs, became affordable as a construction material and architectural embellishing, adopted throughout the globalised world of the late Victorian era. The tone was given by the famous Eiffel Tower built for the 1889 Exposition Universelle in Paris, which represented a climax for ironwork structures, traced back to the Crystal Palace pavilion of the 1851 Great Exhibition in London.
Bucharest was a rapidly developing city in those years before the Great War, with many buildings being erected in the then fashionable historicist styles, which I collectively call the “Little Paris” style, inspired mostly from French c19th architecture. Many of those buildings were embellished with exquisite wrought iron elements, from balconies, doorway assemblies, gates and street fences, conservatories, etc., which constitute now a definitory parameter of Bucharest’s historic built landscape.
I would like to present in the following photographs just a tiny part from the multitude of those architectural ironwork structures, dating in this instance mostly from the 1900s, found now throughout Romania’s capital. In my view they are quite well preserved when taking into account the upheavals experienced by the city in the last century since they were put in place and the general lack of maintenance of the last few decades. It is not hard to imagine how a basic restoration of these structures would notably increase the aesthetics of this metropolis and emphasise in a very positive way its identity; unfortunately there is still a long way for its post-communist inhabitants to learn and understand that.