Historic Houses of Romania organises a Sunday walking tour on the architectural history of the picturesque Calea Calarasi area of old Bucharest. Valentin Mandache, the expert in period buildings, is the guide. To register, please Continue reading Video-call to tour in Calea Calarasi area, 1.02.15
I endeavour through this series of periodic articles to inspire appreciation of Romania’s historic houses and its region in South East Europe, a virtually undiscovered, but fascinating chapter of European architectural history and heritage.
If you plan acquiring or selling a historic property in Romania or start a renovation project, I would be delighted to advise you with specialist research, sourcing and marketing the property. To discuss your particular plan please see my contact details in the Contact page of this weblog.
The photo-collage above is composed by building inauguration year panels rendered architecturally, encountered by the author of this blog on edifices dating from a multitude of historical epochs in Bucharest and other locations in Romania. I used the illustrations as cover photographs for the Historic Houses of Romania – Case de Epoca’s Facebook page. I usually present to the readers a cover photo per week, and the ones here are those scheduled for the first ten weeks of 2014. To find out details about the significance of those years and the buildings hosting them, you can click the links listed below. The links are arranged in the same scheme as the architecturally rendered years mentioned in the collage.
Historic Houses of Romania – Case de Epoca is looking for volunteers: I am designing two new Bucharest architectural tours (Royal and Muntenian/ Brancovan themes) and would welcome participants for the following mock/ rehearsal tours (free of charge, of course):
- Tuesday 21 January, the Royal theme, meeting at 11.30h (duration 2h) in front of Carol I statue, Revolution Square,
- Wednesday 22 Jan., Brancovan theme, meeting at 11.30h (duration 2h) in front of the entrance of Municipal Museum – Sutu Palace.
You need to be physically fit for a walk in town, on a distance of 5km. The participants are welcome to actively engage with the expert in historic houses and ask questions you consider relevant to the tour theme.
Valentin Mandache, Historic Houses of Romania – Case de Epoca
The built environment of Romania has an obvious personality, and being present permanently around me, it became in the last few years since I am based in Bucharest, an integral part of my intellectual universe. Some more than two decades ago I used to attended earth science courses, and one of the main tenets thought there was the keen observation of the ground and other landscape details to work out the local geological history. I was thought back then to make as often as I can field sketches in a notebook, which were always preferable to photographs. That habit is still with me in my activity as an architectural historian, but recently in a high-tech form, having acquired and iPad and tried my hand on glass, which in my opinion is in many ways similar with how our c19th and earlier centuries counterparts used to draw and write on slate. My sketches encompass some of the main types of Romanian architectural landscape, which I hope you, dear readers, would find it interesting!
Today most of the Romanian Black Sea shore is, with the exception of the Danube Delta area, a mostly uninteresting flat plain, dotted with large industrial facilities and grey communist era hotel and residential developments. However, the country had between 1913 – 1916 and 1918 – 1940 a southern rocky seaboard with spectacular vistas, which is now part of Bulgaria. In the inter-war period Queen Marie of Romania built there, in the port city of Balchik (the ancient Greek colony of Dionysopolis, founded in c7th BCE), her most remarkable holiday palace, endowed with a magnificent garden and a multitude of guest houses, over a period stretching a decade, from 1927 to 1936. Some of the best Romanian architects of the time contributed with their creations, such as Emil Gunes or Henriette Delavrancea Gibory. Taking the queen’s example, many well to do Romanians also erected summer residences of a superb architectural quality that are still in large part in place and well looked after. The coast around Balchik faces the south and is protected behind by a series of rocky hills and cliffs from the cold winds and winter weather that come over the open Pontic steppe from as far as Siberia and menaces most of the rest of the country.
The inter-war period has thus been a glorious time for Balchik, which saw the wealthy spending summers in the luxury of their seashore villas, and the emergence of a remarkable painters’ and writers’ colony that took advantage of the glorious southern sunlight, appealing coastal landscape and enjoying the picturesque and welcome of the local community that was in important part Turkish, Tatar and Bulgarian.
Queen Marie and her family spent many a great summer holiday at her palace and gardens in Balchik, taking pleasure fast boat rides along the shore. Everything exuded the happiness and well-being peculiar of that period of history, much the same as other European aristocrats, wealthy individuals or famous artists enjoyed places in the Mediterranean or the Gulf of Mexico.
Remarkable for Balchik and the times when Marie put it on the holiday map as an idyllic place, was the worlds apart contrast of life and aspirations with the Soviet Union’s Black Sea shore communities, over the not far away border. Balchik’s flourishing years as a royal resort overlap with Stalin’s party purges, the killing and sending to prison of countless wretched souls. Romania in less than a decade after Marie built her seaside palace became one of its first victims.
This post was initially published on Diana Mandache’s weblog under our joint authorship.
I divide the evolution of the Neo-Romanian architectural style in three main phases. The early one lasted from its initiation in 1886 by the architect Ion Mincu with his edifice in the national style, Lahovary house, until 1906 when the Royal Jubilee exhibition took place, showing to the public its grand pavilions, many designed in an elevated unitary manner that “canonised” the style, which marked the beginning of its mature phase. It reached an apogee after the country’s victory in the Great War and subsequently in the 1920s decade, when was adopted all over the territory of interbellum Romania. The late 1920s, and the 1930s decade saw the increase popularity and in the end prevalence of the international styles Art Deco and Modernism, which induced a crisis of expression for the Neo-Romanian, thus marking its late phase. The national style managed to strive through an imaginative synthesis with the Art Deco and also Mediterranean inspired forms, resulting in extremely interesting designs. The evolution of the style practically ended with the instauration of communism in the winter of 1947, under the impact of the ideologically driven architectural priorities of the new political regime. It continued to have echoes for another two decades especially in vernacular forms and in motifs used on post-war edifices.
The street gate and doorway assembly presented above belongs in its design outline and period when it was built to the late phase of development of the Neo-Romanian style. The wrought iron gate is inspired from Brancovan style church or altar doors, but expressed in coordinates close to Art Deco. The two gate posts are also derived from church or medieval citadel towers, conforming with the national-romantic message of the style. The door itself shows a series of square panels pointed each by a central disc, which can be understood as the outline of an ethnographic solar disc or an interpretation of a Greek cross. The wall surround of the door is basically an adaptation of a church door opening in reduced to essence coordinates of the Art Deco style. The doorway assembly dates from the beginning of the 1930s, and as the time progressed into that decade, the expression of the Neo-Romanian forms in an Art Deco “ambiance” became even more prevalent and captivating as a form of architectural language.
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 tried to profit yesterday of the lull in between snowfalls and blizzards that affect Bucharest at the end of this January, and shoot a few photographs on the theme of atlantes and caryatides that embellish some of the historic buildings of Romania’s capital. If on the one hand the term caryatid (pl.-s/es) is well known, as the female figure appearing to support on her head the architectural structure above, the name coming form that of the sculpted goddesses that sustain the lintel of the Erechtheion temple on Athens’ Acropolis, atlantes, on the other hand, is somehow confusing for being the plural of the term atlas, the classical Greek god that support the world on his head and shoulders, a male counterpart of a caryatid. Bucharest does not have too many such ornaments, which are the province of the high historicist styles, encountered also sometimes on more modern buildings, but for a keen eye they reveal themselves on house corners, side streets or at the top of façades of some of the city’s historic edifices. Bellow is a selection of some of the most impressive atlantes and caryatides that adorn Romania’s capital, put in place in a period spanning from the mid-c19th to the 1930s, in styles ranging from neo-Renaissance, neo-rococo, Beaux Arts to classicized Art Deco.
I endeavour through this series of periodic articles to inspire appreciation of the historic houses of Romania, a virtually undiscovered, but fascinating chapter of European architectural history and heritage.
If you plan acquiring or selling a historic property in Romania or start a renovation project, I would be delighted to advice you in sourcing and transacting the property, specialist research, etc. To discuss your particular plan please see my contact details in the
Bucharest’s public and private edifices erected in the last two decades, since the fall of communism, are, apart from the general forgettable design, built in high proportion using mass produced imported materials. Most of that is cheap, low quality, characterless and as regards the resulted architecture, can in my opinion, easily be categorised at kitsch. That situation also reflects the tastes and values of the actual generations engaged in building or renovating edifices of this town and country. They are in such stark contrast with the times of in the inter-war and subsequent communist periods when the architectural materials were in greatest proportion sourced within the country. That produced interesting and attractive results, with the ornamental and construction stone sourced in the Carpathian Mountains or in rocky hills of the province of Dobrogea, on the Black Sea coast, which are from that point of view a wonderful geological kaleidoscope, a bottomless source of high quality marble, limestone of different sorts, travertine, granite of various colours and grains, basalts, sandstones, etc. I have in the image above a sample of that fabulous panoply of ornamental stone used in one of the grand communist era projects, Bucharest’s metro transport system. It shows the pavement of the Politehinca station, composed of red limestone peppered by Jurassic age marine fossils, which was sourced probably in the Apuseni (Western) Carpathians, the rock being formed in a geological age when those parts were a continental shelf covered by the warm seas on the Equator. My Dr. Martens shoes stand on a band of nicely granulated pinkish granite, sourced in my opinion in northern Dobrogea (it may also be from the Apuseni Mountains). The composition is evocative of the geographical and geological identity of this country, a fact which is no longer encountered within the pitiful built landscape of the actual post-communist years.