The Art Deco style has been popular in the 3rd and the 4th decades of the 20th century and influenced by motifs of the ancient Egypt, because of the discovery in the early 1920s of the tomb of Tutankhamun. The number 3 was a magical number of the ancient Egyptians and was used extensively in Art Deco design, shown in decorative elements grouped/ reverberating in three. This door design from the 1930s Bucharest shows wonderfully the popularity of that “rule”.
Historic Houses of Romania organises a walking tour on the subject of the Art Deco style architecture of the Domenii quarter of Bucharest, on Sunday, 15 February 2015, between the hours 11.30h – 13.30h. The guide is Valentin Mandache, expert in period buildings. Registrations at email@example.com
Although today in Bucharest the temperatures were hovering around -12 centigrades, being freezing cold and blowy, my spirit, at least, was warmed up by a visit to an Art Deco style apartment that in part evoked much warmer climates and sunnier lands, a theme often encountered in this town’s Art Deco architecture.
The interior of the dwelling does not have much left from its original features, except the doors. The original wall and ceiling mouldings, the 1930s windows, bathroom and kitchen tiles and fittings, were replaced in the last few years by the owner, a “young artist”, who judging from the results of her misguided effort, is in fact is a typical Romanian period house proprietor, nurturing arrogant dreams about the money value of their real estate, but completely oblivious regarding its artistic and heritage worth. The doors remained in place, presumably because the owner ran out of money, splashed on the other “improvements”, otherwise I would have seen plastic made portals bought triumphantly from a DIY shop.
The main door, pictured above, is a composition of panels displaying at its centre the rule of three, typical of the Art Deco, with the others arranged around in a gamma cross array, a cosmic motif that I encountered quite frequently in the ornamentation pertaining to this design in the Bucharest of the fourth decade of the c20th, associated usually with the nazi movement, which I believe was not the case here, as the block where this apartment belongs, was inhabited by Jewish families. The door’s lower register contains two overlapping semicircles, signifying the rising and setting sun of the southern seas.
The apartment block dates from the mid-1930s and is located in Matei Basarab area, the architect being B. Zilberman, a designer with numerous commissions in that quarter, which in that period had a large Jewish population. His name and the fact that he is a graduate of the architectural school in Milan are proudly displayed in a name tablet on one of the exterior walls of the building.
The bedroom door, seen in the third photograph, was narrower, but of wonderful proportions, preserving the gamma cross motif made from panels radiating a central window made from six openings. The lower register in this instance was embellished with three horizontal bars, according to the rule of three mentioned above.
I like the three steps motif decorating the panel overhead the dressing room door, clearly enlivening the rest of the bedroom and diminishing the sense of weight generated by the unfortunate choice of wall colour by the contemporary owner.
These doors, survivors from happier times in the brave new world of Romania’s post-communist society, are important for the local architectural identity and also worth some money, even if the locals do not realise that yet. My hope is that the citizens of Bucharest and the country will start recovering through those witnesses their civic pride and appreciate the creations of their forebearers, who were certainly more sophisticated than their descendants.
My article about the foot mud scraper from the La Belle Epoque era adorning the Metropolitan Orthodox Cathedral in Sibiu has attracted an unexpected degree of interest from the readers. Among those making remarks was Robin Grow, the President of Australia’s Art Deco and Modernism Society, who naturally asked me if I have an Art Deco mud scraper among my finds. I answered that indeed I have found one in Bucharest, which I would like now to show it to you in all its glory in the following photographs.
The inedite artifact adorns Villa Miclescu, one of most elegant buildings of Bucharest’s Art Deco and Modernism era, located in Dorobanti quarter, designed by the architect Horia Creanga in 1930.
The mud scraper displays the rule of three, inspired from the Egyptian mythology, typical of the Art Deco style, seen in its three blades, being in tone with the horizontal bars grouped in three on the ironwork of the doorway.
The villa is mostly an inter-war Modernist design, of which Horia Creanga is most famous, with some Art Deco elements, such as the staircase windows, doorway or the mud scraper.
The building is in a bad state of repair, although it is on the heritage list, a common situation in Bucharest, due mostly to the lack of education and interest about the historic architecture among the post-communist inhabitants of this town. One can notice the effects of that neglect even on this Art Deco mud scraper, which is such a rare architectural vestige: the first photograph, which I took about one and a half years ago, presents it with two “ears”, the loops on each side, while the last one, taken last week, shows one of those ears missing. That gives you an idea how fast the architectural identity and heritage of Bucharest is disappearing at the hands of its own citizens and their representative authorities.
An interesting Art Deco design vestige, dating from the cultural peak period of Bucharest, in the third and fourth decade of the last century, now uncared and unloved by its post-communist inhabitants, still stoically surviving among their ugly, uncouth renovations of period buildings.
I am a great fan of the cheerful Art Deco panels that depict sunbursts, rainbows or southern seas themes. In that spirit I have put together a real sunburst photographed last summer in Grivita – Domenii area of the city, a quarter that is still preserving its inter-war charm when it was built up in large part in the Art Deco style, then much in vogue in Bucharest, and the emblem of an insurance company, ornament that dates from the Art Deco era, located in the town centre. Looking at the natural sunburst is easier to understand the message, optimism and confidence exuded by the Art Deco panels of Bucharest and the culture of that beautiful time in the history of architecture.
I would like to share with you a small sample from the magnificent multitude of Neo-Romanian style houses that belong to the late phase of the development of this design peculiar to Romania, which were viewed and examined during the 25 August ’12 tour guided by the author of this blog. In basic terms it represents a synthesis between the Neo-Romanian and mainly Art Deco, or said differently- the national architecture of Romania expressed in the Art Deco coordinates of the period between the late 1920s and the mid-1940s. The modern construction technologies that emerged in the roaring twenties affording the development of light, airy structures expressed in the Art Deco and Modernist architecture, were quite antithetical to the traditionally heavy, built in brick and masonry, Neo-Romanian style edifices, as typical to its early and mature phases of the previous four decades. That led to a crisis within this indigenous architectural order, threatened by the high popularity among the public of the international modern styles, which were all the rage in Bucharest during the 1930s. The Neo-Romanian style managed to survive and even thrive, until the watershed of the Second World War, through fascinating syntheses especially with the Art Deco designs.
The primordial couple, Adam and Eve, is a predilect theme in the visual arts. The architectural decoration is no exception in that regard. I found during my fieldwork in Bucharest two such representations, an Art Deco style bas-relief embellishing the pediment of a 1929 apartment house entrance, and a statue, part of the garden design of the garden of a mid-1960s communist block of flats, both shown in the photographs bellow.
The Art Deco era panel is, in my opinion, a fairly good artistic product, on classical or even Rodin-inan lines, inviting to philosophate about the symbolism of this couple in the conditions of the inter-war period, at the beginning of the Great Depression. I like the altar, with a base in three steps, and a three groove shaft, all conforming to the Art Deco’s rule of three, on which the two personages lean, engulfed within the radiation generated by the sacred fire. Adam and Eve in this instance look quite androgynous, which conform to the Greek classical norms of uncertain gender portrayal.
The couple from the mid-1960s statuary composition is also a rendering of the Adam and Eve theme, but in the communist ideology coordinates that pervaded the life and society of Romania of that period. It represents a pair of Romeo-and-Juliet age adolescents, not of an aristocratic outlook, but in what were then considered healthy, study outlines of the working class individuals. The 1960s was a period of thaw within the communist world, after the harsh Stalinist post-war years, and in Romania in particular that was reflected in good quality artistic and also architectural productions (see for example the remarkable Modernist designs of the hotels embellishing the Black Sea resorts). This statue exudes something from that more propitious atmosphere and in my opinion is of a better artistic standard than the Art Deco bas-relief described above.
Bellow are three interesting images of glazed balconies/ verandas pertaining to the three main styles that characterize the architecture of Bucharest: Little Paris (last quarter of the c19th until the Great War), Neo-Romanian (late c19th – late 1940s) and Art Deco (1930s and ’40s). From what I found in my fieldwork, usually the glazed structures are not contemporary with the original building, but added as an improvement or embellishment in renovations works of the first or second decade after the edifice is put in place. The main attraction of a glazed structure, be it a balcony, doorway or light-well is in fact its exquisite ironwork, its frame, exemplified here in the second photograph showing the Neo-Romanian glazed balcony. Sometimes there are bits of original glass panes still surviving within the ironwork, which in the case of the historicist c19th Little Paris design comes in beautiful colours typical of the Victorian era coloured glass.
This building is not much to write home about if one looks at its street and lower levels, but the top is an entirely different story, as the picture above testifies. It gives the impression of a river fall or rapid through the multitude of right angle steps and vertical ridges that embellish it. The rule of three, inspired from Egyptian mythology, so popular in the era when the Art Deco style was in vogue, is evident in the “straps” delimited by the straight vertical ridges and the grouping of the assembly of steps on the top of the building. There is also an allusion to the ocean line theme through the porthole window at the centre, the two small flag poles that flank the vertical ridges and the general impression of a liner’s command bridge exuded by this building top structure.