Due to mud and dust prevalent on the streets of Bucharest and other towns of Romania of the La Belle Epoque period (the last quarter of the c19th, until the Great War), people, especially those from the richer strata of the population had to find ways to keep their clothes clean and look smart. One of those devices was the stair spur, helping ladies in elaborate long skirts , and also some gentlemen with expensive shoes, to step down from horse drawn carriages straight onto the stairs of a house and then enter it without having any contact with the dirt on the street or courtyard. This video shows some of those still surviving stair spurs of central Bucharest.
The Antique Booksellers House has been one of the iconic buildings of old Bucharest, unfortunately demolished during the fascist period. This video analyses its architecture, a mix of La Belle Epoque Art Nouveau and post-Great War Neoromanian, examining it in its topographical and architectural context. The conclusion is the Antique Booksellers House (Casa Anticarilor) was probably an edifice and institution that started in the 1900s and re-established after the war in the 1920s.
I would like to propose you a brand new, in my portfolio, architectural history tour, in the western part of the picturesque Cotroceni quarter, which contains the grandiose edifices of the Medical Sciences University and the Palace of the President of Romania. The tour completes my series of distinct walks (east, central and west) covering this architecturally valuable area of Bucharest.
The event is scheduled to take place this Sunday 3 April 2016, between 11.30h – 13.30h. This cultural excursion could be of interest to any of you visiting Romania’s capital as a tourist or on business, looking to understand the character of this metropolis through discovering its peculiar and fascinating old architecture.
The most beautiful baroque revival style palace of Bucharest is the Medical Sciences University, the best such school in southeast Europe, designed by the Swiss architect Louis Blanc, and built in 1902, which is at the centre of west Cotroceni. Its aesthetics is auspiciously put into light by the the surrounding elegant built environment, one of the finest in the capital. You are thus going to sample, under my guidance, many of those examples, displaying a dazzling array of symbolism and messages, typical of the Neoromanian, the national architecture of this country, or the international Art Deco, Modernist and Mediterranean styles. The creators of many of Continue reading ! New Tour ! The architecture of west Cotroceni→
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 firstname.lastname@example.org
Historic Houses of Romania organises an architectural walking tour on the theme of the Little Paris style architecture and character of old Bucharest, on Sunday 25 January 2015, between 11.30h – 13.30h. The guide is Valentin Mandache, expert in Romania’s historic houses. To register and Continue reading Tour video-call: the Little Paris architecture→
Invitation to a Historic Houses of Romania – Case de Epoca architectural tour in Cotroceni quarter of Bucharest, scheduled to take place on Sunday 11 January 2015, between 11.30h – 13.30h. The guide is Valentin Mandache, expert in Romania’s historic houses. For details about the Continue reading Video-invitation: tour in Cotroceni quarter→
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.
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.