ABSORBING MODERNITY 1914 - 2014

A B S O R B I N DMODE RNI TATE A

1914 - 2014

A B S O R B I N GM O D E R N I T Y

1914 - 2014

“Ion Mincu” University PressBucharest 2014

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Copyrignt © 2014, “Ion Mincu” University Press

ALL RIGHT RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scanning, digitizing, taping, web distribution, information networks, or information storage and retrieval system, without the prior written permission of the publisher.

Coordonator Catalog: Conferentiar Universitar Doctor Arhitect Bogdan A. TOFANlista celor carora le multumesc colectiv BAV 2014: prof. academician arhitect Brian A 6SHQFHU AIA Fellow, IAA, PAACH – Taliesin West, Statele Unite ale Americii, profesor emerit arhitect Juhani Katainen- SAFA - FinlandaMonica Morariu din partea Ministerului Culturii - comisar al Romaniei la Bienala de la Venetia, istoric Alexandru Damian - vice-comisar al Romaniei la Bienala de la Venetia, profesor dr. arhitect Vlad Gaivoronschi - Timisoara, GRFWRU�DUKLWHFW�/XPLQL�D�0DFKHGRQ��profesor dr. arh. Dorin Stefan,profesor psiholog doctor academician Grigore Nicola, conferentiar dr. arh. Anca Mitrache, inginer expert Gigi Dobrescu, comerciant Ion Bortes,conferentiar dr. arh. George Mitrache, prof. dr. arh. Nicolae Lascu, profesoare dr. arh. Ana Maria Zahariade.lector dr. arh. Dan Dinoiu, lector dr. arh. Emil Retegan, prof. dr. arhitect Augustin Ioan, lector dr. arh. Sidonia Teodorescu, profesor invitat arhitect Marius Calin - Pratt Institute New York,

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3

Bogdan TOFAN*

Cuvânt Inainte

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Organizarea bienalei de DUKLWHFWXUĆ� GH� DQXO� DFHVWD�� D�vQFHSXW�vQ��LDQXDULH��GHFL�FX� XQ� DQ� vQDLQWH�� $� IRVW� PHULWXO�GLUHFWRUXOXL� DFHVWHL� HGLĦLL�� VFULLWRUXO�üL�DUKLWHFWXO�5HP�.RROKDDV�FX�FDUH�DP� DYXW� SOĆFHUHD� VĆ� FRODERUH]�GLUHFW��2�PLQWH� VWUĆOXFLWRDUH��FODUĆ�üL� RUGRQDWĆ� FDUH� D� SUH]HQWDW�VWUXFWXUD�HYHQLPHQWXOXL� vQFĆ�GH� OD�vQFHSXW��

În 2014 bienala va avea un titlu general Fundamente prezentat vQ� 3DYLOLRQXO� &HQWUDO� üL� XQ� VXEWLWOX�Absorbind Modernitatea - 1914 - 2014� YDODELO� SHQWUX� WRDWH� ĦĆULOH�participante. În pavilionul lung al &RUGHULHL�GHO�$UVHQDOH�GL�9HQH]LD��vQ�ORFXO� vQ�FDUH�VH�IĆFHDX�SH�YUHPXUL�RWJRDQHOH� FRUĆELLORU� 9HQHĦLHQH� R�

The Venice Architecture Biennale is currently the world’s most renowned architecture exhibition. It very much resembles a mirage. You don’t really know what caused it. Venice’s charm and the organizers’ talent might be some of the most important factors leading to this phenomenon, or maybe Italy’s allure have made it so that the 2014 edition of la Biennale counts 60 participating countries hailing from around the world.

The preparations for this year’s Biennale commenced in about a \HDU� DJR�� RQ� -DQXDU\� ��WK� ��A major driver behind this was this edition’s Director: architect DQG� ZULWHU�� 5HP� .RROKDDV�� ZLWK�whom I had the distinct pleasure to work with. I found him to have a refreshing concept of the project, clear and tidy, one that enabled the presentation of a transparent and understandable structure of this year’s edition, right from the start. In 2014, the Venice Architecture Biennale will be held under the general title Fundamentals, which will host an exhibition in the Central

*Deputy commissioner of Romania at the Architecture Biennal of Venice, 2014

Romanian Union of Architects

*Vicecomisar al României la %LHQDOD�GH�$UKLWHFWXUĆ�GH�OD�9HQHĦLD��

8QLXQHD�$UKLWHFĦLORU�GLQ�România

4

Pavilion, while also exploring the subtitle Absorbing Modernity – the last 100 years of architecture – 1914 -2014 through the national stands of each participating country. Last but not least, the Long Hall of the Venetian Arsenal will allow visitors to walk through exhibits pertaining to Italian architecture, under the title Mondo Italia. Conferences of architecture themes, dance, music and theatre showcases will also be a part of this year’s Biennale, with the special assistance of commissioners overseeing the Arts Biennale. I asked Mr. Rem .RROKDDV�WR�H[WHQG�DQ�LQYLWDWLRQ�WR�the renowned Romanian architect Dan Sergiu Hanganu, as well as to RWKHU� ZHOO�NQRZQ� ÀJXUHV� RI� UHFHQW�Romanian architecture, such as Mrs. /XPLQLĦD�0DFKHGRQ�3K'��0,7�3UHVV�ZULWWHU��3URIHVVRU�'RULQ�ûWHIDQ�3K'��Professor Ana Maria Zahariade PhD, architect Vlad Gaivoronschi from 7LPLüRDUD�� 5RPDQLD� DQG� 3URIHVVRU�Andrei Ujica to give public lectures in Venice during the Bienalle, which will run between 7th of June – 23rd of November 2014. These lectures will be centered on Romanian modernism in architecture and will seek to illustrate different views of the Romanian architectural wave. I am waiting for Rem’s decision hoping to invite them all. I also proposed that music, dance and plays evenings with top romanian artists as: pianist Livia Teodorescu playing Enescu’s Romanian Rhapsody and Chopin’s nocturnes, jazzman Remus Teodorescu to

VĆ� ÀH� RUJDQL]DWĆ� H[SR]LĦLD� FX� WLWOXO�Mondo Italia. Pe parcursul bienalei VH� UHFRPDQGĆ� RUJDQL]DUHD� GH�FRQIHULQĦH�SH�WHPH�GH�DUKLWHFWXUĆ��VHUL� DUWLVWLFH� GH� GDQV�� PX]LFĆ� üL�teatru cu sprijunul comisarilor VSHFLÀFL� GLQ� ELHQDOD� GH� DUWĆ� FDUH�VH�WLQH�vQ�DQLL�LPSDUL�

6Ć� QH� DGXFHP�DPLQWH� FĆ� vQ� ��%LHQDOD�GH�DUKLWHFWXUĆ�GH�OD�9HQHĦLD�D� SUH]HQWDW� vQ� SDYLOLRQXO� 5RPkQLHL�tema 7LPEUXO�GH�DUKLWHFWXUĆ�vQJULMLWĆ�GH�R�HFKLSĆ�FRQGXVĆ�GH�DUKLWHFWXO�(PLO� ,YĆQHVFX�� LDU� vQ� 1RXD�*DOHULH�D� ,QVWLWXWXOXL� 5RPkQ� GH� &XOWXUĆ�üL� &HUFHWDUH� 8PDQLVWLFĆ� GH� OD�9HQHĦLD�²�&DQQDUHJLR��²��9HQHĦLD�� WHPD� Heads Up - Capul sus� vQJULMLWĆ� GH� R� HFKLSD� GH� WLQHUL�DUKLWHFĦL� GLQ� &OXM� FRQGXVĆ� GH� DUK��Marius Moga. A fost un succes SHQWUX�5RPkQLD��

0XOĦXPHVF� FX� RFD]LD� DSDULĦLHL�acestui volum doamnei dr. arhitect 9LRULFD� &XUHD� �� SUHüHGLQWD� 8QLXQLL�$UKLWHFWLORU� GLQ� 5RPDQLD� üL� WXWXURU�colaboratorilor din acest proiect.

&RPLVDUXO� 5RPkQLHL� GH� OD�9HQHĦLD�este Monica Morariu din partea Ministerului Culturii.

Vice-comisar din partea Ministerului GH� ([WHUQH� üL� D� ,QVWLWXWXOXL�&XOWXUDO� 5RPkQ� HVWH� GRPQXO�Alexandru Damian iar din partea 8QLXQLL� DUKLWHFĦLORU� GLQ� 5RPkQLD�subsemnatul B. Tofan.

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55

remind us of Johnny Raducanu’s Compositions, prima ballerina Ms. Monica Petrica who will present a series of modern Romanian dances, actor Marius Vizante to play The Chairs by Eugene Ionesco, and I am optimistic about receiving a positive reply from Romanian curator Mihai Sima

We should also take a moment to revisit the 2012 edition of the Architecture Biennale and Romania’s entry under the theme Architecture Postmark, which was curated by the team lead by Arch. Emil Ivanescu, as well as the Romanian Cultural Institute’s New Gallery’s exhibition Heads Up, overseen by a young team of architects from Cluj lead by Arch. Marius Moga. Overall, the 2012 events represented a success for the Romanian delegation. I would also like to thank to my dear friend, Profesor Emeritus Francesco Cappellari – U.Florida USA, Faculty of Vicenza, architect Borys Czarackziew, architect Zoly Mathe, architect Constantin Gorcea, architect Marina Mihaila 3K'�� 7KH� VFLHQWLÀF� VHFUHWDU� IRU� WKH�2012 Bienalle di Venezia.

Romania is represented at the Venice Architecture Biennale through Commissioner Ms. Monica Morariu designated by the Ministry of Culture. The undersigned, Bogdan Tofan, is the Vice-Commissioner representing the Romanian Architects’ Union, while Mr. Alexandru Damian is

GH� 8QLXQHD� $UKLWHFĦLORU� SHQWUX�desemnarea curatorilor Pavilionului PDUH� DO� 5RPkQLHL� üL� D� QRLL� JDOHULL�GLQ� FDVD� ,RUJD� D� ,&5� 9HQHĦLD��6HFUHWDUD�üWLLQĦLÀFĆ�D�%LHQDOHL�GH�OD�9HQHĦLD��D� IRVW� üL� LL�PXOĦXPHVF�vQ� PRG� GHRVHELW� GRDPQHL� OHFWRU�dr. arh. Anca Mihaela Constantin GH�OD�8QLYHUVLWDWHD�GH�$UKLWHFWXUĆ�üL�8UEDQLVP�Å,RQ�0LQFXµ�GLQ�%XFXUHüWL��ÍQ�DFHVW�FDWDORJ��YRU�DSĆUHD�vQWU�R�HGLĦLH�YLLWRDUH�üL�WH[WHOH�FDUH�DX�VWDW�OD�ED]D�vQWRFPLULL�WHPHL�GH�FRQFXUV�international.

Textele care i-au inspirat pe FRQFXUHQĦL� DX� IRVW� VFULVH� GH�PHPEULL� FRPLWHWXOXL� üWLQĦLÀF� SULQWUH�care profesor psiholog doctor academician Grigore Nicola, GRDPQD� GRFWRU� DUKLWHFW� /XPLQLĦD�Machedon, profesor dr. arh. Dorin ûWHIDQ�� GRDPQD� FRQIHUHQĦLDU� GU��arh. Anca Mitrache, inginer expert Gigi Dobrescu, comerciant Ion %RUWHü�� OHFWRU� GU�� DUK�� 'DQ� 'LQRLX��lector dr. arh. Emil Retegan, prof. dr. arhitect Augustin Ioan, doamna lector dr. arh. Sidonia Teodorescu, profesor invitat arhitect Marius &ĆOLQ� �� 3UDWW� ,QVWLWXWH� 1HZ� <RUN��FRQIHUHQĦLDU� GU�� DUK�� *HRUJH�Mitrache, prof. dr. arh. Nicolae Lascu, doamnei profesoare Dr. arh. Ana Maria Zahariade.

,PDJLQLOH�FX�OXFUĆULOH�GH�DUKLWHFWXUD�au fost completate cu texte ale FkWRUYD� GLQWUH� PHPEULL� -XULXOXL�,QWHUQDĦLRQDO� GLQWUH� FDUH� DPLQWHVF�pe prof. academician architect Brian A Spencer – Taliesin West din Statele Unite ale Americii, doamna

6

the representative for the Ministry of Foreign Affairs, as well as the Romanian Cultural Institute.

2014 is also the year in which a new, more complete catalogue will be published, comprising of the entries to the national competition organized by the Romanian Union of Architects in order to designate the curators of the Romanian Pavilion, as well as those of the New Gallery hosted by the Romanian Cultural Institute in Venice. This new version of this book was produced, together with Ms. Anca Mihaela Constantin, in order to present the documents that have served as the starting point for deciding this year’s competition theme in Romania. Just to name just a few, some of the people who have EURXJKW� D� VLJQLÀFDQW� LQSXW� WR�this book, number: Ms. Architect Luminita Machedon Phd, Mr. Dorin Stefan, Mr. Grigore Nicola, Mrs. Anca Mitrache, Mr. Gigi Dogrescu, Mr. Ion Bortes, Mr. Dan Dinoiu, Mr. Emil Retegan, Mr. Augustin Ioan, Ms. Sidonia Teodeorescu, Mr. Marius Calin and Mr. George Mitrache. Furthermore, I would also like extend my sincere thanks to the members of the International Selection Jury: Mr. Brian A. Spencer – AIA Fellow from the United States of America, Mr. Alexandru Damian, Mr. Vlad Gaivronoschi, and Mr. -XKDQL�.DWDLQHQ��6$)$��

Some of the most important addition to the competition requirements number:

Monica Morariu din partea Ministerului Culturii - comisar al 5RPkQLHL�OD�%LHQDOD�GH�OD�9HQHĦLD��istoric Alexandru Damian - vice-FRPLVDU�DO�5RPkQLHL�OD�%LHQDOD�GH�OD�9HQHĦLD�� SURIHVRU� GU�� DUKLWHFW� 9ODG�*DLYRURQVFKL� �� 7LPLüRDUD�� SURIHVRU�HPHULWXV� DUKLWHFW� -XKDQL� .DWDLQHQ�üL� VXEVHPQDWXO�FRQIHUHQWLDU�GRFWRU�arhitect Bogdan Tofan vice-FRPLVDU�DO�5RPkQLHL� OD�%LHQDOD�GH�OD�9HQHĦLD�

0XOĦXPHVF� FX� DFHDVWĆ� RFD]LH�SUHFHGHQWXOXL� SUHüHGLQWH� DO� 8$5�domnului prof. dr. arhitect Petre 'HUHU� üL� FRODERUDWRULORU� PHL� GLQ�HGLĦLD��D�%LHQDOHL�GH�DUKLWHFWXUĆ�GH� OD� 9HQHĦLD�� PHPEULORU� MXULXOXL�din 2012 dintre care amintesc pe profesor emeritus Francesco Cappellari -USA, University of Florida Facultatea de arhitectura GLQ� 9LFHQWD� �� SUHüHGLQWHOH� MXULXOXL��%RU\V� &]DUDFN]LHZ� ²� 3UHüHGLQWHOH�&DPHUHL� DUKLWHFĦLORU� GLQ� &UDFRYLD��Polonia, arhitect Mathe Zoltan – Miercurea Ciuc, arhitect Nicolae *RUFHD� ²� 6XFHDYD�� FRQIHUHQĦLDU�dr. arh Marina Mihaila – secretar üWLQĦLÀF�DO�%LHQDOHL�FD�UHSUH]HQWDQWĆ�D�8QLXQLL�$UKLWHFWLORU�GLQ�5RPkQLD��

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77

�� The acceptance given by each participant to transfer the copyright of the submitted drawings, as well as those linked to the presentation text that accompanies the architectural solution, so that these could be published in a “witness catalogue” at the end of the competition, which would later serve as a roadmap for future editions of the competition;

�� The creation of easily implementing solutions for the interior designs contained by the Pavilion

The works comprising this catalogue represent a walk though of the works submitted in the competition. All the entries have demonstrated an extraordinary dedication to this project and I wish to extend my sincerest thanks to all of them. These works represent an important snapshot in the journey behind the 2014 edition of the Venice Architecture Biennale and Romania’s modernist wave in architecture.

To my mind, architecture represents the meeting place of all the different arts and that is one of the most important reasons why I would encourage everyone who attends the Architecture Biennale in Venice to try and experience the various number of exhibits planned for this year’s edition.

It is therefore my pleasure to invite you to see the submitted works for last and this edition’s Biennale competition.

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/XFUĆULOH� H[SXVH� vQ� DFHVW� FDWDORJ�UHSUH]LQWĆ� R� WUHFHUH� vQ� UHYLVWD� D�lucrarilor din concurs. Acestea sunt un instrument de lucru pentru DUKLWHFĦLL�SDUWLFLSDQĦL�OD�FRQFXUVXULOH�YLLWRDUH��7RĦL�FHL�SUH]HQWL�vQ�FDWDORJ�DX�GHSXV�XQ�HIRUW�FRQVLGHUDELO�üL�OH�PXOĦXPHVF�� /XFUĆULOH� ORU� UHSUH]LQWĆ�XQ� PRPHQW� LPSRUWDQW� IRWRJUDÀDW�vQ� GHFXUVXO� HYHQLPHQWHORU� SULOHMXWH�GH� DFHDVWD� PDQLIHVWDUH� üL� SRW�FDUDFWHUL]D� vQ� PRPHQWXO� DFHVWD�PRGHUQLWDWHD�URPkQHDVFĆ��

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13

&RQWH[WÎn contextul temei alese de curatorul Bienalei GH� OD� 9HQHĦLD� �� 5HP� .RROKDDV� SHQWUX�SDYLOLRDQHOH�QDĦLRQDOH�Å$EVRUELQJ�PRGHUQLW\µ propunem pentru Pavilionul Romaniei din Giardini di Castello crearea unui traseu LQLWLDĦLF��R�VFXUWĆ�LVWRULH�SRUQLQG�GH�OD�JORULH�üL�DMXQJkQG�OD�YLG��'H�OD�JORULD�LQGXVWULDOĆ�OD�YLGXO�SRVWLQGXVWULDO�� 3RVWXUD� SRVW�LQGXVWUDLDOĆ� HVWH�HOLEHUDWĆ�GH�DERUGDUHD�SHLRUDWLYĆ�SH�FDUH�R�DUH�vQ�YL]LXQHD�PHQWDOXOXL�FROHFWLY�URPkQHVF��GHYHQLQG� XQ� SXQFW� ]HUR� vQ� FUHDUHD� XQHL�PRGHQLWĆĦL� UHDOH�� 7UDVHXO� LQLĦLDWLF� DPLQWHüWH�GH� SDUFXUVXO� FLQHPDWRJUDÀF� GLQ� ÀOPXO� OXL�$QGUHL� 7UDNRYVN\� ¶6WDONHU·� vQ� FDUH�R� FĆOĆX]Ć�FRQGXFH� GRL� RDPHQL� VSUH� XQ� ĦLQXW�PLVWHULRV�denumit impersonal Zona� vQ� FĆXWDUHD�Camerei� XQGH� FHOH� PDL� DVFXQVH� GRULQĦH�devin realitate. Pentru noi Zona� UHSUH]LQWĆ�VLWXULOH� LQGXVWULDOH� JROLWH� GH� XWLOLWDWH� üL� VHQV��devenite viduri urbane precum insule izolate �DEVRUELWH�GDU�QHGLJHUDWH��vQ�RUDü��vQ�PLüFĆULOH�lui de expansiune. Acest vid este propus FRQWHPSOĆULL��FRQüWLHQWL]ĆULL�üL�UHDSURSULHULL�GH�RUDüXO�FRQWHPSRUDQ��'DU�vQDLQWH�VĆ�DMXQJHP�la viduri ne vom preocupa de trecut. Trecutul recent a fost tumultos, contradictoriu politic, VRFLDO�� XUEDQLVWLF�� 0RüWHQLUHD� LQGXVWULDOĆ� QX�QH�ODVĆ�LQGLIHUHQĦL��FL�QH�VWkUQHüWH�LQWHUHVXO�GLQ�SRVWXUD�QRDVWUĆ�GH�WLQHUL�DUKLWHFĦL�vQ�FDXWDUHD�XQHL� LGHQWLWĆĦL�� $OHJHUHD� LQGXVWULDOXOXL� FX�DFFHQW� SH� LSRVWD]D� SRVW�LQGXVWULDOĆ� GLQ�5RPkQLD� HVWH� XQ� SXQFW� GH� SOHFDUH� vQ�UHWURVSHFWLYD� FULWLFĆ� SURSXVĆ� SULQ� WHPĆ��din cadrul arhitecturii autohtone a ultimei VXWH� GH� DQL�� 7LWOXO� FRPSOHWHD]Ć� WHPD� SULQ�SURSXQHUHD�XQHL�GH]EDWHUL�vQ�FDGUXO�%LHQDOHL�D� SRVLELOLWĆĦLORU� GH� FRQVWUXLUH�UH�FRQVWUXLUH� D�siturilor abandonate.

&RQWH[WAddressing to the theme proposed by the curator RI� WKH� 9HQLFH� %LHQQDOH� �� 5HP� .RROKDDV� IRU�the national Pavilions ´$EVRUELQJ�PRGHUQLW\µ our proposal for the Romanian Pavilion in Gardini di Castello is an initiatory path, o short history starting from glory to arriving to reaching the void. From the industrial glory to the post-industrial void. The industrial state is freed by the pejorative approach envisioned by the Romanian collective mentality becoming a zero point standing in the way of the real modernity. The initiatory path reminds of the cinematographic path in Andrei Tarkosvky’s movie ‘Stalker’ where a guide leads two people to a mysterious realm called impersonally ‘The Zone’ searching for ‘The room’ a place that grants wishes. For us ‘The Zone’ represents the empty industrial sites without an utility of sense. These sites have become urban voids like isolated islands (absorbed but neglected by the city as it expanded). The void has to be acknowledged and re-appropriated to the contemporary city. But before we arrive to these voids we will make an incursion in the past. The recent past was tumultuous, contradictory politically, socially and urban. The industrial heritage does not leave us indifferent but it revives our interest as young architects in the searching of our identity. The choice of the industrial by emphasizing the post-industrial state in Romania is the beginning point in our critical retrospective proposed through the theme considering the country’s architecture in the last one hundred years. The title chosen complements the theme by beginning a debate with this occasion discussing the possibilities of constructing-re-constructing the voids – the abandoned sites.

14

,GHHD,GHHD�SRUQHüWH�GH�OD�LSRVWD]D�IDEULFLL�vQ�XOWLPLL��ani. Fabrica = imagine = gabaritul ei considerabil UDSRUWDW� OD�RUDü� �DUVHQDOXO�HL�PHFDQL]DW��WLSL]DW��JHQHUDWRU�DO�PRGHUQLWĆĦLL� �PRGHUQLWDWH�DVXPDWĆ� � PDüLQĆ� D� SURGXFĦLHL� � VLPERO� � PHFDQLVP�GLQDPLF��SRODUL]DWRU��FRORVDO��RUDü�vQ�RUDü��VSDĦLX�vQ�VSDĦLX� �VSDĦLX�DO�FUHDĦLHL

Trecutul

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)DEULFLOH� HUDX� VSDĦLL� H[HPSODUH� vQ� FDUH� OXFUXULOH�HUDX�VXELHFW�DO�RUGLQLL��PDüLQLOH�HUDX�SUHYĆ]XWH�vQ�FRQIRUPLWDWH� FX� LPSHUDWLYHOH� SURGXFĦLHL�� UDIWXUL�FDUH� GHSR]LWDX� XQHOWHOH� üL� VHULD� GH� UHFLSLHQWH�FDUH�IĆUĆ�R�vQWUHĦLQHUH�FRQVLVWHQWĆ��RUGLQH�VRFLDOĆ��VSDĦLDOĆ�üL�PDWHULDOĆ�GHYLQ�UĆVSXQ]ĆWRDUH�SHQWUX�GHVWUĆPDUH� üL� GH]RUGLQH�� 7UHEXLH� SXQFWDW� FĆ�DUKLWHFWXUD� LQGXVWULDOĆ� DSĆUXWĆ� OD� vQFHSXWXO�VHFROXOXL� D� DYXW� R� LQÁXHQĦĆ� GHFLVLYĆ� DVXSUD�D� FHHD� FH� V�D� QXPLW� PDL� WkU]LX�� DUKLWHFWXUĆ�PRGHUQĆ�� &D� R� FRQVHFLQĦĆ� D� DSDULĦLHL� QRLORU�PDWHULDOH�GH�FRQVWUXFĦLH�üL�DSOLFĆULL�QRLORU�WHKQLFL�GH� FRQVWUXFĦLH�� DUKLWHFWXUD� PRGHUQĆ� vüL� SHUPLWH�VĆ� SXQĆ� vQ� SUDFWLFĆ� IRUPH�PDL� vQGUD]QHĦH�� PDL�ÁH[LELOH�� LQDFFHVLELOH� FODVLFLVPXOXL� FRQVWUkQV� OD�monumental de folosirea materialelor azi devenite WUDGLĦLRQDOH��2�GDWĆ�FX�DSDULĦLD�IDEULFLORU��RUDüHOH�WUHEXLDX� VĆ� JĆVHDVFĆ� ORF� vQ� GH]YROWDUHD� ORU�DWkW� D� VSDĦLLORU� QHFHVDUH�GHVIĆüXUDULL� DFWLYLWDĦLORU�LQGXVWULDOH�� FkW� üL� SHQWUX� QRLOH� QHFHVLWDĦL� FH�GHFXUJHDX�GLQ� YHQLUHD� ÁX[XULORU�GH�QRL� ORFXLWRUL��ÍQWUHJXO� RUDü� V�D� WUDQVIRUPDW� QRLORU� LGHDOXUL� ED�FKLDU�DQXPLWH�RUDüH�DX�IRVW�R�FRQVHFLQĦĆ�GLUHFWĆ�a industrialului.

14

7KH�,GHDThe idea starts with the imagine of the factory. The factory with its size overlapped within the city. The factory with its mechanized armory, standardized, it’s a generator of modernity. The factory as a machine of mass production. The factory as a symbol. The factory as a dynamic mechanism of polarization, colossal, city within a city, space within a space. The factory as a place of creation.

The Past

Å7KH�LQGXVWU\��WKH�VRXUFH�RI�DOO�HYLO�DQG�DOO�JRRG�EHFRPHV�WKH�PDLQ�FKDUDFWHU�LQ�WKH�WUDQVIRUPDWLRQ�RI�WKH�FLW\�µ Aldo Rossi

The factories were exemplary spaces where the things were subject of order: the machines were made according with all the production imperatives, shelves which were used for storing the tools and the series of containers which without a constant maintenance, social, spatial and material order become responsible for unraveling and disorder. We must say that the industrial architecture had a major and decisive LQÁXHQFH� RQ� ZKDW� ZH·OO� FDOO� ODWHU� RQ�� PRGHUQ�architecture. As a consequence of this fact the new constructing materials and the emergence of the new techniques in constructions, modern architecture afford itself to put into practice EROGHU�IRUPV��PRUH�ÁH[LEOH�WKDQ�WKH�DUFKLWHFWXUH�during the heavy classicist era constrained to be monumental by using traditional materials. As the IDFWRULHV�DSSHDUHG��WKH�FLWLHV�KDG�WR�ÀQG�SODFHV�for the big industry sites with all their spaces and facilities. Also the city had to absorb the great ÁX[� RI� SRSXODWLRQ� EURXJKW� ZLWKLQ� WKH� FLW\� ZLWK�all their the necessities. The cities transformed in character with the new ideal and in some cases cities were a direct consequence of the industrial development.

15

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Å,W� LV�VR�TXLHW�RXW�KHUH�� LW� LV� WKH�TXLHWHVW�SODFH� LQ�WKH�ZRUOGµ�Stalker 1979

&kQG� IDEULFLOH� DX� IRVW� vQFKLVH�� UHVWXULOH� UĆPDVH�vQ� VLWXULOH� UHVSHFWLYH� DX� GHYHQLW� UXLQH�� 5XLQH�moderne. În mod comun sunt percepute de SRSXODWLH�FD�ÀLQG�SHWH�vQ�SHLVDM��]RQH�LQHVWHWLFH��9DORDUHD�DFHVWRU� VLWXUL� VWĆ� WRWXüL� vQ�SHUFHSĦLD� ORU�FD� VSDĦLL�GH� MRDFĆ��GDWRULWĆ�HVWHWLFLL�SDUWLFXODUH��D�FDUDFWHULVWLFLORU�PDWHULDOH�üL� VHQ]XDOH��FDOLWĆĦLOH�FDUH�VXQW�IRDUWH�GLVWLQFWH�IDĦĆ�GH�VSDĦLLOH��UHJXODWH�SXEOLFH� DOH� RUDüHORU� FRQWHPSRUDQH�� /LEHUWDWHD�GH� XWLOL]DUH� D� DFHVWRU� VLWXUL�� IĆUĆ� FRQVWUkQJHUL��IDYRUL]HD]Ć� GRXĆ� WLSXUL� GH� DFWLYLWĆĦL�� FHOH�GHQXPLWH� SUDFWLFH� üL� FHOH� OXGLFH�� 2DPHQLL� VXQW�QRVWDOJLFL� YLV�j�YLV�GH� UXLQHOH�PRGHUQLWĆĦLL�SHQWUX�FĆ� HOH� vQFĆ� SDU� D� vQPDJD]LQD� R� SURPLVLXQH� FH�D� GLVSĆUXW� GLQ� WLPSXO� QRVWUX�� SURPLVLXQHD� XQXL�YLLWRU� DOWHUQDWLY��0DL� GHJUDEĆ�HOH� VXQW� XQ� VSDĦLX�FX�SRWHQĦLDO� QDUDWLY�� XQ� VSDĦLX�FDUH� vQFXUDMHD]Ć�vQFHSHUHD�XQHL�QRL�SRYHüWL�

3XQHUHD�vQ�RSHUĆ�D�LGHLL

7UDVHXO�LQLĦLDWLF�vQFHSH�GLQ�VDVXO�PLF�GH�OD�LQWUDUHD�vQ� SDYLOLRQ�� ]RQĆ� vQ� FDUH� YRP� IDFH� R� VFXUWĆ�prezentare a ideii din interior. Tot aici vom tapeta cu imagini sugestive 360o�� SH� WDYDQ�� SHUHĦL��SDUGRVHDOĆ��,PDJLQLOH�YRU�UHSUH]HQWD�XQ�FRODM�GLQ�WUHFXW� üL�SUH]HQW��9UHP�FD�PHVDMXO�QRVWUX�SHQWUX�YL]LWDWRUL�VĆ�ÀH�FkW�PDL�GLUHFW��'LQ�VDV�VH�YD�LQWUD�vQ�zona de prezentare video. Spatiul pavilionului ar SXWHD�À�YĆ]XW�FD�PHJD�VSDĦLXO�RUDüXOXL� LQGXVWULDO�URPkQHVF�� 3HQWUX� FĆ� QX� RUDüXO� vQ� vQWUHJXO� VĆX�HVWH� VXELHFWXO� DWHQĦLHL� QRDVWUH�� DFHVWD� YD� À�LPSHUFHSWLELO��QHJUX��IĆUD�OLPLWH��ÍQ�VSDĦLXO�RUDüXOXL�DSDU� vQJKLĦLWH� LQVXOHOH�� IRVWHOH� ]RQH� LQGXVWULDOH��UHSUH]HQWDWH�SULQWU�R�VHULH�GH�YROXPH�IDĦHWDWH��3H�DFHVWH�YROXPH�YRU� À�SURLHFWDWH� LPDJLQL� üL� YLGHR�

7KH�3UHVHQW

´,W� LV�VR�TXLHW�RXW�KHUH�� LW� LV� WKH�TXLHWHVW�SODFH� LQ�WKH�ZRUOGµ�Stalker 1979

When factories were closed the all was left on these sites became a ruin. Modern ruins. They are commonly perceived by the inhabitants as dark spots in the urban landscape, anesthetic areas. The value of these sites stands in the general perception of being playgrounds because of their particular esthetic and their material and sensorial characteristics. These qualities are very distinct if we compare these places with the regular public spaces of the contemporary cities. The freedom of reliance without constraints of these sites favors two types of activities: the practical and the playful ones. People are nostalgic vis-à-vis these modern ruins because they seem to store promises of something that is gone missing in our times, the promise of an alternative future. Also they are places with a narrative potential, a space that encourage the beginning of new stories.

7KH�,QVWDOODWLRQRI�RXU�,GHD

The initiatory path begins in the small entrance of the pavilion, in this area we will make a short presentation on the walls of the idea inside the pavilion. Here we will have a 360 degree wallpaper with suggestive images: on the walls, WKH�FHLOLQJ��WKH�ÁRRU��7KHVH� LPDJHV�ZLOO� UHSUHVHQW�a collage of the past and future mixed together. We want our message to be clear. From here our path leads us inside the pavilion where we have the video-multimedia presentation within a great ambiance. This space can be perceived as the industrial Romanian city space. But because the city is not our main subject it will be black, undetectable, without boundaries. In the city

16

din interiorul fabricilor, a siturilor industriale, a PDüLQLORU��D�RDPHQLORU�üL�VSDĦLLORU�GLQ�YUHPXULOH� ORU�GH� JORULH�� 3URLHFĦLLOH�PXOWLPHGLD� VH� YRU� WUDQVODWD�de pe un ecran pe altul pentru a crea ideea de FRQWLQXLWDWH�SHUSHWXĆ��,PDJLQLOH�YLGHR�PXOWLPHGLD�YRU�À�GXEODWH�GH�VXQHW��FDUH�YD�DOWHUQD�SH�]RQHOH�GLIHULWH�GH� LQWHUHV� OD�GLIHULWH� LQWHQVLWĆĦL�� ÍQFHUFĆP�VĆ� FUHHP� XQ� VSDĦLX� GLQDPLF�� VĆ� LQWURGXFHP�SXEOLFXO� vQ� LQWHULRUXO� XQXL� PHFDQLVP� FDUH�IXQFĦLRQD�SHUIHFW�� (VWH�R� ]RQD�SXWHUQLF� YL]XDOĆ�VL� DFWLYĆ�� 3XQFWXO� FXOPLQDQW� DO� WUDVHXOXL� vQLĦLDWLF�YD� À� ]RQD� GLQ� LQWHULRUXO� YROXPHORU� SROLJRQDOH��Aici vom crea acea &DPHUĆ� D� YLVHORU de care YRUEHDP� vQDLQWH�� 'DFĆ� UHDOLWDWHD� FRWLGLDQĆ�DUDWĆ�VHFXO�LQWHJUDULL�DFHVWRU�VSDĦLL�vQ�PHFDQLVPXO�RUDüXOXL�� SURSXQHP� XQ� H[HUFLĦLX� GH� LPDJLQDĦLH�SHQWUX� YL]LWDWRULL� SDYLOLRQXOXL�� vQ� FDUH� VH� SRW� GD�curs unor scenarii personale. Astfel, vidurile golite GH�XWLOLWDWH�GHYLQ�PRWRUXO� IDEULFĆULL� XQRU� UHDOLWĆĦL�PRGHUQH��$FHDVWĆ�]RQĆ�YD�À�XQ� WXE�GH� OXPLQĆ��un hiperboloid care va urca la 6m, folosindu-QH� GH� OXPLQDWRDUHOH� SDYLOLRQXOXL�� (O� DPLQWHüWH�GH� WXUQXULOH� GH� UĆFLUH� LQGXVWULDOH� HODQVDWH� VSUH�FHU�� YD� À� XQ� VSDĦLX� DOE� LQXQGDW� GH� OXPLQĆ�� IĆUĆ�QLFL�R�FRQGLĦLRQDUH� üL� IĆUĆ�QLFL� XQ� VWLPXO�H[WHULRU��'RULP� VĆ� ÀH� IRQRL]RODW�� SURWHMDQG� H[SHULHQWD�pura din interior. Turnul� GH� OXPLQĆ� HVWH� GHVWLQDW�H[SHULHQĦHL� LQGLYLGXDOH�� XQ� VSDĦLX� DO� FUHDĦLHL�� DO�LGHLORU�GH�WRW�IHOXO��D�YLVĆULL��ÍQ�LQWHULRU�YD�H[LVWD�XQ�HFUDQ�WDFWLO�SHQWUX�FHL�FDUH�GRUHVF�VĆ�üL�H[SULPH�YL]LXQHD�� /D� LQWUDUHD� vQ� Turn pe ecranul tactil YRP�SUH]HQWD�XQ�ÀOP�VFXUW�GH�PD[LP��PLQXW��FX�SUH]HQWDUHD�VLWXDĦLHL�DFWXDOH�D�VLWXULORU�LQGXVWULDOH�GLQ�LQWHULRUXO�RUDüHORU�URPkQHüWL��'XSĆ�YL]LRQDUHD�ÀOPXOXL��YL]LWDWRUXO�YD�DYHD�SRVLELOLWDWHD�VĆ�DOHDJĆ�modalitatea de exprimare a viziunii personale. Exprimarea se poate face verbal printr-un WHVWLPRQLDO�YLGHR��SULQ�GHVHQ�VDX�SULQWU�R�DSOLFDĦLH�JUDÀFĆ�� R� LQWHUIDĦĆ� FH� YD� DMXWD� XWLOL]DWRUXO� VĆ� vüL�FUHH]H�SURSULD�UHDOLWDWH��ÍQ�FDGUXO�DSOLFDĦLHL�GH�SH�ecranul tactil vizitatorul, devenit creator, poate

space appear as swallowed islands, the old industrial sites represented by a series of faceted volumes. On these volumes will be projected videos and images from the past, inside the factories, the large industrial areas, the machines, the people, the interior, the beautiful structures, all in glory. These places used to have a purpose, a life. The projections will pass from one screen to another for creating the idea of perpetual continuity. The video images will be doubled with sound which will alternate on different areas of interest and intensities. We want to create a dynamic space and invite the public inside a big mechanism which used to work perfectly. This will be an intense visual area. The ecstatic point of our initiatory path will be the zone inside the polygonal volumes. Here we want to create dream The Room we talked about earlier. If the ordinary reality shows the failure of integrating these spaces in the mechanism of the city, we propose an exercise of imagination for the visitors of our pavilion in which they can free their imagination and make personal sceneries. So these voids are used for becoming the engine of fabricating a personal reality. This space will be a tube of light in the form of a hyperboloid up to 6 meters by using the pavilion’s skylights. The tube is an analogy to industrial cooling towers reminders of the skylines of cities, recalling memories, a perfect white space ÁRRGHG�ZLWK�OLJKW��7KHUH�ZLOO�EH�QR�FRQGLWLRQLQJV��no outside stimulus. We want the tower to be an individual experience, acoustically protecting the pure experience inside. We tower is destined to be a place of contemplation for each person, a space of creation, ideas of all kind. Inside there will be a touch screen where everybody can express their vision on this matter. When you enter the tower, the touch screen will play a short movie of maximum 1 minute with the actual appearance of the abandoned industrial sites within Romanian cities. After viewing the movie people can

17

choose the way they want to express. This can be made verbally through a video testimonial, drawings or he can use a created graphical application where he can create him own reality. With this application the visitor can play by adding existing buildings on these sites, examples of contemporary architecture and suggest sceneries for using better these sites. By taking out these buildings out of context and using them as tools, like mass products of fabrication emphases also the contemporary architecture state, so malleable in the era of globalization. At the end all these products of thinking will be on display for other people to see inside the pavilion, maybe hanged on a moving rail on the ceiling. The path follows the visitors path and leads them inside the space like an analogy to the industrial monorail.

IRORVL�GUHSW�XQHOWH�FOĆGLUL�H[LVWHQWH�GLQ�DUKLWHFWXUD�URPkQHDVFĆ�SHQWUX�D� VXJHUD� VFHQDULL� SH� VLWXULOH�UHVSHFWLYH�� 6FRDWHUHD� FOĆGLULORU� GLQ� FRQWH[W� üL�IRORVLUHD� ORU� GUHSW� XQHOWH�� FD� QLüWH� SURGXVH� GH�VHULH�SHQWUX�IDEULFDUHD�XQHL�QRL�UHDOLWĆĦL��VXEOLQLD]Ć�LSRVWD]D� DUKLWHFWXULL� FRQWHPSRUDQH�� DWkW� GH�PDOHDELOĆ� vQWUX� JOREDOL]DUH�� ÍQ� ÀQDO� SURSXQHP�R�IDEULFĆ� GH� PRGHUQLWDWH� GXSĆ� FXP� VXJHUHD]Ć�üL� WLWOXO� FH�SURGXFH� UHDOLWĆĦL�PXOWLSOH� üL� SHUVRQDOH�SHQWUX� VSDĦLLOH� URPkQHüWL� SURSXVH� VSUH� DQDOL]Ć��3URGXVHOH�YRU�À�H[SXVH� vQ�PLüFDUH��ÀLQG�DJĆĦDWH�GH�R� üLQĆ�DPSODVDWĆ� OD�QLYHOXO� WDYDQXOXL�� 7UDVHXO�üLQHL� XUPHD]Ć� üL� FRQGXFH� WUDVHXO� YL]LWDWRUXOXL� vQ�SDYLOLRQ��SRDWH�À�REVHUYDWĆ�DQDORJLD�FX�EDQGD�UXODQWĆ� LQGXVWULDOĆ�� 'RULP� FD� vQWUHJXO� GHPHUV� VĆ�DLEĆ�R�ÀQDOLWDWH�FODUĆ�üL� VĆ�JHQHUH]H� LGHL�SHQWUX�VROXĦLL�DERUGDWH�vQ�YLLWRU�

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Robert ZotescuMaria Cristina Georgescu

team//echipa:

SURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: KR22132ÀQDO�VFRUH//SXQFWDM�WRWDO�� 83.73

The 1914-2014 period represents one of the most dynamic stages of the human civilization, the technical advancements, the great world wars, the internet or the moon landing, all of these occurred in the last 100 years.

This year’s theme wishes to highlight the way in ZKLFK�ZRUOG�DUFKLWHFWXUH�ZDV�PRGLÀHG�E\�DOO�WKH�social, political, technological and cultural factors that led to a gradual loss of national identity and the standardization of contemporary architecture regardless of cultural or geographical background.

Romania is no exception; the last hundred years represent a period of accelerated transformations for Romanian architecture, a continuous search and adaptations to a national and international context in permanent change.

Romanian architecture from 1914 to 2014 is marked by two strong desires:

�� The need to belong to the international architectural stage;

�� The need to mark national identity ;

26

��'RULQĦD� GH� DSDUWHQHQĦĆ� OD� XQ� FRQWH[W�LQWHUQDĦLRQDO�

��'RULQĦD�GH�PDUFDUH�D�LGHQWLWĆĦLL�QDĦLRQDOH�

2VFLODĦLD� UDSLGĆ�D� WDQGHPXO�JHQHUDW�GH�DFHVWH�GRXĆ�GRULQĦH�HVWH�FHO�FDUH�H[SOLFĆ�WUDQVIRUPDUHD�UDSLGĆ�D�DUKLWHFWXULL� URPkQHüWL��XQGH�DGDSWDUHD�UDSLGĆ� OD� LGHL� QRL� VH� vQWkOQHüWH� FX� R� QRVWDOJLH�SHUPDQHQWĆ�SHQWUX�XQ�WUHFXW�LGHDOL]DW��XQ�WHPSR�QDĦLRQDO�

$FHDVWD� LGHH� HVWH� PDWHULDOL]DWĆ� vQ� SURLHFW� SULQ�doua elemente:

��8Q� WUDVHX� WDQJLELO� DO� PRGLÀFĆULORU� SURGXVH�vQ� DUKLWHFWXUD� URPkQHDVFĆ� FD� XUPDUH� D�LQÁXHQĦHORU�FXOWXUDOH�LQWHUQDĦLRQDOH�SULQ�SULVPD�ÀOWUXOXL�üL�ULWPXOXL�QDĦLRQDO�

��8Q� JUDÀF� H[SXV� SHULPHWUDO� FDUH� SUH]LQWĆ� R�FROHFĦLH�GH�IRWRJUDÀL��VFKLĦH�üL�vQUHJLVWUĆUL�YLGHR�FH�H[HPSOLÀFĆ�FRQFUHW�DFHDVWĆ�WUDQVIRUPDUH�SULQ� SUH]HQWDUHD� SULQFLSDOHORU� UHDOL]ĆUL�arhitecturale ale ultimei sute de ani.

7UDVHXO� SURSXV� vQ� SURLHFW� PDWHULDOL]HD]Ć� DFHVW�WHPSR� IRORVLQG� R� EXVROĆ� YLUWXDOĆ� FDUH� SUH]LQWĆ�GLUHFĦLD�JHR�SROLWLFĆ�GH� LQÁXHQĦĆ�FXOWXUDOĆ��FDUH�SĆWUXQGH� vQ� DUKLWHFWXUD� URPkQHDVFĆ� SULQWU�XQ�ÀOWUX�QDĦLRQDO�üL�PRGXO�SULQ�FDUH�DFHDVWD�LQÁXHQĦĆ�PRGLÀFĆ�WUDVHXO�DUKLWHFWXULL�QDĦLRQDOH��

9L]LWDWRUXO� SRUQHüWH� GLQWU�XQ� VXG� YLUWXDO� SH�FDUH� vO� DVRFLHP� VHFROXOXL� ;,;� üL� FDUH� DGXFH� FX�VLQH� LQÁXHQĦHOH� RULHQWDOH�� FkW� üL� HOHPHQWHOH�DUKLWHFWXUDOH�GH�IDFWXUĆ�WUDGLĦLRQDO�URPkQHDVFĆ��În continuarea traseului vizitatorul este inundat GH�OXPLQD�GLQ�YHVWXO�YLUWXDO�DO�SDYLOLRQXOXL��GLUHFĦLD�FĆWUH� FDUH� V�D� RULHQWDW� FXOWXUD� URPkQHDVFĆ� vQ�SHULRDGD� �� (WDSD� XUPĆWRDUH� �� HVWH� PDUFDWĆ� GH� R� VFKLPEDUH� EUXVFĆ� GH�GLUHFĦLH�DGXVĆ�GH�DSDULĦLD�FRPXQLVPXOXL��FkW�üL�GH�RULHQWDUHD�ÀOWUXOXL�FĆWUH�HVWXO�YLUWXDO�DO�SDYLOLRQXOXL�GHüL�WUDVHXO�SUH]LQWĆ�QLüWH�IDQWH�GLVFUHWH�RULHQWDWH�FĆWUH�YHVW��FDUH�VLPEROL]HD]Ć�OHJĆWXUD�IUDJLOD�FX�occidentul. Ultima parte a traseului , 1989 – 2014

This rapid tandem generated by these two desires explains the rapid transformation of Romanian architecture where quick adaptation to new ideas meets a permanent nostalgia for an idealized past, a national tempo.

This idea is materialized in the project through two elements:

��$�WDQJLEOH�SDVVDJH�WKURXJK�WKH�PRGLÀFDWLRQV�brought in Romanian architecture as a result RI� LQWHUQDWLRQDO� FXOWXUDO� LQÁXHQFHV� WKURXJK�WKH� HIIHFW� EURXJKW� E\� RXU� QDWLRQDO� ÀOWHU� DQG�rhythm.

�� The second element is a peripheral graphic that presents a collection of photographs, sketches and video recordings the exemplify the transformation showing the main Romanian architectural examples of the last hundred years.

The proposed passage materializes this tempo using a virtual compass that presents the geo-SROLWLFDO� LQÁXHQFHV� WKDW� VHHSV� LQWR� 5RPDQLDQ�DUFKLWHFWXUH� WKURXJK� RXU� QDWLRQDO� ÀOWHU� DQG� WKH�PRGLÀFDWLRQV� WKH\�EULQJ� WR� WKH�GHYHORSPHQW�RI�national architecture.

The visitor starts in a virtual south that we associate with the 19th century that brings all the information brought by our traditional and oriental background. As it goes along the visitor LV� ÁRRGHG�E\� OLJKW� FRPLQJ� IURP� WKH� YLUWXDO�ZHVW�of the pavilion, the direction towards which Romanian culture was focused during 1914 – �� 7KH�QH[W� VWDJH� LV��DQG� LV�PDUNHG�by the sudden change of direction brought by WKH�ULVH�RI�FRPPXQLVP�DQG�WKH�VWURQJ�LQÁXHQFHV�coming from the virtual east, simultaneously the stage also presents three small niches towards the virtual west that symbolize the fragile link to the west. The last stage of the passage 1989-2014, is PDUNHG�E\�WKH�ORVV�RI�DOO� UXOHV��WKHUH�LV�VWLOO�D�ÀOWHU�oriented towards the virtual west but the opposing wall is not affected by it and acts independently,

27

the resulting volume symbolizing both a loss of all constraints and an indiscriminate absorption of all information.

To materialize the absorbing modernity phenomena – we assimilated it with light, realizing a dynamic dialogue between the present reality of each historic stage ( the projected light ) DQG� WKH� ZD\� LQ� ZKLFK� LW� LV� ÀOWHUHG� �� WUDQVOXFHQW�plastic panels ) and projected on our national background ( the walls )

The light is constantly absorbed and this absorption LV�FRQVWDQWO\� UHJXODWHG�E\� WKH� VSHFLÀF� WHPSR�RI�WKH� EODGHV� �� QDWLRQDO� ÀOWHU� �� DOORZLQJ� D� GLIIHUHQW�projection of light.

Further more, the nature of the translucent material allows to interpret light trough the refraction of the material. The light, passing through the translucent ÀOWHU� FKDQJHV� GLUHFWLRQ�� EHLQJ� DOWHUHG�� WKXV�personalized.

The passage, marked by either translucent or opaque walls translates the spatial dimension typical for all historic stages, starting with a generous space at the beginning of the century, that slowly begins to transform and shrink to the “minimum standard” of the communist period, only to expand optimistically and uncontrollably in the last period.

HVWH�PDUFDWĆ�GH�SLHUGHUHD�UHJXOLORU��HVWH�HYLGHQWĆ�SUH]HQĦD�ÀOWUXOXL�FĆWUH�YHVW�GDU�vQ�DFHDVWĆ�HWDSĆ�SHUHWHOH�RSXV�ÀOWUXOXL�DFĦLRQHD]Ć�LQGHSHQGHQW�GH�DFHVWD�� 9ROXPXO� UH]XOWDW� VXEOLQLLQG� VLPXOWDQ� DWkW�OLSVD�UHSHUHORU�FkW�üL�DEVRUEĦLD�QHGLVFULPLQDWD��FD�R�SkOQLH��D�WXWXURU�LQIRUPDĦLORU�

3HQWUX� D� PDWHULDOL]D� IHQRPHQXO� GH� DEVRUEĦLH�D� PRGHUQLWĆĦLL� ²� DP� DVLPLODW�R� FX� OXPLQD��UHDOL]kQG�DVWIHO�XQ�GLDORJ�GLQDPLF�üL�VXJHVWLY�vQWUH�DFWXDOLWDWHD�H[WHULRDUĆ�SHQWUX� ÀHFDUH�SHULRDGĆ�LVWRULFĆ��OXPLQD�SURLHFWDWĆ�GLQ�H[WHULRUXO�WUDVHXOXL�SURLHFWDW��üL�PRGXO�vQ�FDUH�DFHDVWD�D�IRVW�ÀOWUDWĆ��SDQRXULOH� WUDQVOXFLGH� GLQ� SROLFDUERQDW�� üL�SURLHFWDWĆ� SH� IXQGDOXO� QRVWUX� QDĦLRQDO� �]RQHOH�SOLQH�GH�SHUHĦL��

/XPLQD� �PRGHUQLWDWHD�� QX� SĆWUXQGH� �HVWH�DEVRUELWĆ�� FRQVWDQW�� DFHVW� OXFUX� ÀLQG� UHJODW�SULQWU�XQ� WHPSR� GLIHULW� DO� ODPHOHORU� �ÀOWUXOXL�QDĦLRQDO�� IDĦD�GH�VXUVD��SHUPLWkQG� vQ�PRG�GLIHULW�SURLHFĦLD�DFHVWHLD��

Mai mult – natura materialului translucid pentru FDUH� DP� RSWDW� vQ� FRQÀJXUDUHD� FRPSRQHQĦHL�prin care se absoarbe lumina face ca aceasta VĆ� SĆWUXQGĆ� GHVFRPSXVĆ� �LQWHUSUHWDWĆ��SULQ� IHQRPHQXO� GH� UHIUDFĦLH� FDUDFWHULVWLFĆ�PDWHULDOXOXL��/XPLQD��WUHFkQG�SULQ�ÀOWUXO�WUDQVOXFLG�vüL� VFKLPEĆ� GLUHFĦLD� GH� SURSDJDUH�� VXIHULQG�PRGLÀFĆUL��ÀLQG�SHUVRQDOL]DWĆ��

&RQÀJXUDUHD� WUDVHXOXL� GHOLPLWDW� vQ� IXQFĦLH� GH�ÅSHULRDGDµ� SDUFXUVĆ� GH� SHUHĦLL� SOLQL�� WUDQVOXFL]L�WUDGXFH� GLPHQVLXQHD� VSDĦLDOD� LQWHULRDUĆ�VSHFLÀFĆ� SHULRDGHORU� VXFFHVLYH�� SRUQLQG� GLQ�]RQD�GH�QHRURPkQHVF�FX�XQ�VSDĦLX�JHQHURV�SH��D[H��DFHVWD�VH�UHVWUkQJH�DWkW�SH�YHUWLFDOĆ�FkW�üL� SH�RUL]RQWDOĆ��DMXQJkQG� OD�XQ� ÅVWULFW� QHFHVDUµ�FDUDFWHULVWLF� VSDĦLLORU� LQWHULRDUH� GLQ� SHULRDGD�FRPXQLVWĆ�� XUPkQG� FD� XOWHULRU� VĆ� VH� OĆUJHDVFĆ�²� vQWU�XQ� PRG� RSWLPLVW� VXEOLQLDW� SULQ� HYDGDUHD�VSDĦLXOXL� SH� YHUWLFDOĆ�� SULQ� FRERUkUHD� FRWHL�SDUGRVHOLL� �ULGLFDWĆ� DQWHULRU� DFFHVXOXL� vQ� VSDĦLXO�traseului).

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Just now

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�0DWHL�&ĆOLQHVFX�²�´&LQFL�IHĦH�DOH�PRGHUQLWĆĦLLµ�

Conceptul proiectului Just Now provine din LQWHUSUHWDUHD� GLUHFWĆ� D� WHPHL� %LHQDOHL� GH� OD�9HQHĦLD� vQ� �� SURSXVĆ� SHQWUX� SDYLOLRDQHOH�QDĦLRQDOH�

Absorbing Modernity: from 1914 to 2014.

&XYkQWXO�0RGHUQLW\��0RGHUQLWDWH��vüL�DUH�RULJLQHD�vQ� ODWLQD� WkU]LH� �VHFROXO� �� G�� &KU��modernus din modo, ce se traduce prin MXVW�QRZ��FKLDU�DFXP�. ,Q�JHQHUDO��HO�HVWH�IRORVLW�SHQWUX�D�DUĆWD�GLIHUHQĦD�GLQWUH�HSRFD�SUH]HQWĆ�üL�FHD�DQWHULRDUĆ��LQWUkQG�vQ�OLPEDMXO�FRPXQ�GLQ�VHFROXO�DO�;9,,�OHD��)RORVLUHD�vQ� HQJOH]Ć� D� SUH]HQWXOXL� FRQWLQXX� D� YHUEXOXL�D� DEVRUEL� VHPQLÀFĆ� R� UHODWDUH� FX� UHIHULUH� OD� R�DFĦLXQH�SUH]HQWĆ� VFKLPEĆWRDUH� üL� vQ� GH]YROWDUH��HIHPHUD��3UHFL]DUHD�DQLORU��GHQRWĆ�XQ�caracter retrospectiv asupra unui secol marcat

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“…The modernity idea couldn’t be conceived other than in the parameters of a certain conscience of time, that of KLVWRULFDO� WLPH�� OLQHDU�DQG� LUUHYHUVLEOH�� ÁRZLQJ�XQLQWHUUXSWHG�IRUZDUG�µ

�0DWHL�&ĆOLQHVFX�²�´�)LYH�IDFHV�RI�PRGHUQLW\µ�

Just now, the concept of the project comes from the direct interpretation of the Venetia 2014 Biennale theme proposed for the national pavilions:

Absorbing Modernity: from 1914 to 2014,

The word Modernity get’s its origins from the late latin, modernus from modo, that translates through Just Now. Generally it is used to show the difference between the present time and the time right before that, comming into common language IURP�WKH�;9,,�WK�FHQWXU\��7KH�XVDJH�RI�WKH�SUHVHQW�continuous for the verb to absorb indicates a referral to a present changing and developing action, with ephemeral character. Indicating the years 1914-2014 denotes a retrospective character over a century with a powerful struggle

Razvan George GorceaConstantin Gorcea

Sorin BompaAlexandra Arama

Cosmin TolbesAlexandru Senciuc

SURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: IT34567


team//echipa:

36

between modernity and it’s relation with different situations in parts of the world.

We can deduce from the theme the necessity of a simultaneous presentation over the historical past and the present moment – MXVW� QRZ. In these terms we proposed a pavilion approach that connects the visitor to the actual reality of 5RPDQLD��DV�GLYHUVH�DQG�XQÀOWHUHG�DV�KH�VKH�FDQ�ÀQG� LW� �� RIIHULQJ� LQ� WKH� VDPH� WLPH� WKH� SRVVLELOLW\�for deciphering through references to the past regarding the main political-historical events that LQÁXHQFHG� 5RPDQLDQ� $UFKLWHFWXUH� LQ� WKH� ODWHVW�hundred years time.

The pavilion’s appropriation will be unfolded in three time-zones as follows:

��$W�ÀUVW��WKH�YLVLWRU�LV�GLUHFWO\�LQWURGXFHG�WKURXJK�a portal to a clean isolated space, dominated by large audio-video projections of contemporary Romania. After a brief view of these transmissions, of which he doesn’t yet know much about, he discovers the ´,1µ acces point to the second space, the Historical Background. The translucent walls of JUST NOW box still allow shadows and UHÁHFWLRQV� RI� OLJKW�� DOWKRXJK� XQGLVWLQJXLVKHG�� WR�ge through.

2. The second space, the HISTORY BACKGROUND is a brighter one, and by the spatial design, subdivides into three parts of the same space, DFFRUGLQJ�ZLWK�WKH��SHULRGV�WKDW�LQÁXHQFHG�WKH�last hundred years of Romanian society : interwar/ communist/ post-revolution.

So, through a exposition of photography and VSHFLÀF�TXRWHV��RUGHUHG�LQ�D�FKURQRORJLFDO�VFDOH��the visitor discoveres what at the moment of each photo was their own Just Now.

In the mean time, the represented objectives will bear a note helping interested visitors to identify them in real time over the Internet, using their own comunication devices (tabletes, smartphones, etc.), bringing the objectives straight into their real context, MXVW�QRZ.

SXWHUQLF� GH� UHODĦLD� vQWUH� PRGHUQLWDWH� üL� VLWXDĦLLOH�GLYHUVH�GLQ�GLIHULWH�SĆUĦL�DOH�OXPLL�

6H�GHGXFH�GLQ�WHPĆ�QHFHVLWDWHD�XQHL�SUH]HQWĆUL�VLPXOWDQH� D� WUHFXWXOXL� LVWRULF� üL� D� PRPHQWXOXL�prezent - acum. Propunem astfel, un pavilion FH� FRQHFWHD]Ć� YL]LWDWRUXO� OD� UHDOLWDWHD� DFWXDOĆ��GLYHUVD� üL� QHÀOWUDWĆ�� D� 5RPDQLHL�� RIHULQGX�L� vQ�DFHODüL� WLPS� üL� GHVFLIUDUHD� SULQ� UHIHULQĦH� SULYLQG�principalele evenimente politico-istorice ce au LQÁXHQĦDW�DUKLWHFWXUD� URPkQHDVFĆ� vQ�XOWLPD�VXWD�de ani.

3DUFXUVXO�SDYLOLRQXOXL�VH�UHDOL]HD]Ć�vQ��WLPSL�

��ÍQ�SULPD�LQVWDQĦĆ��YL]LWDWRUXO�HVWH�LQWURGXV�GLUHFW�vQWU�XQ� VSDĦLX� L]RODW� GRPLQDW� GH� PDUL� SURLHFĦLL�DXGLR²YLGHR�GLQ�5RPkQLD�FRQWHPSRUDQD��'XSĆ�R� VFXUWĆ� YL]LRQDUH� D� DFHVWRU� WUDQVPLVLL�� GHVSUH�FDUH�vQFĆ�QX�üWLH�QLPLF��HO�GHVFRSHUĆ�DFFHVXO� ÎN VSUH�VSDĦLXO�History Background��3HUHĦLL� WUDQVOXFL]L�ai cutiei JUST NOW� SHUPLW� LQWUH]ĆULUHD� XPEUHORU�YL]LWDWRULORU�GHMD�DÁDĦL�vQ�VSDĦLXO�LVWRULF�

�� $O� GRLOHD� VSDĦLX� HISTORY BACKGROUND este XQXO�PDL�OXPLQRV�FDUH��SULQ�DPHQDMDUHD�VSDĦLDOĆ�FUHDWĆ�� VH� VXEGLYLGH� vQ� �� ]RQH�FRUHVSXQ]ĆWRDUH�FHORU��SHULRDGH�FH�DX�LQÁXHQĦDW�XOWLPD�VXWĆ�GH�DQL� D� VRFLHWĆĦLL� URPkQHüWL�� LQWHUEHOLF�� FRPXQLVW��SRVW�UHYROXĦLH��$VWIHO��SULQ� LQWHUPHGLXO� IRWRJUDÀLORU�üL� D� FLWDWHORU� VSHFLÀFH� H[SXVH� vQWU�XQ� SDUFXUV�FURQRORJLF�� YL]LWDWRUXO� GHVFRSHUĆ� FHHD� FH� OD�momentul respectiv reprezenta Just Now.

7RWRGDWĆ��RELHFWLYHOH�SUH]HQWDWH�YRU�DYHD�QRWDWĆ�SH� IRWRJUDÀH�DGUHVD�GH� LGHQWLÀFDUH�SH�XQD�GLQ�UHĦHOHOH�GH�6WUHHW�YLHZ�GH�SH� LQWHUQHW�SHQWUX�FD�YL]LWDWRULL�LQWHUHVDĦL�VĆ�SRDWĆ�YHGHD�SH�DSDUDWHOH�proprii de comunicare (tablete, smartphone-uri HWF��RELHFWLYHOH�vQ�FRQWH[WXO�ORU�DFWXDO�

��,QFXUVLXQHD�LVWRULFĆ�VH�ÀQDOL]HD]Ć�FX�LQWRDUFHUHD�vQ�SUH]HQW��vQ�VSDWLXO�JUST NOW��üL�FRQüWLHQWL]DUHD�IDSWXOXL� FĆ� LPDJLQLOH� SUH]HQWDWH� UHSUH]LQWĆ�obiective din cele 7 epoci istoice prezentate vQ� VLWXDĦLD� ORU� FRQWHPSRUDQĆ�� $VWIHO�� YL]LWDWRUXO�SRDWH�DSUHFLD�VLQJXU�PRGXO�vQ�FDUH�DX�IRVW�üL�VXQW�ÅDEVRUELWHµ�vQ�SUH]HQW�RELHFWLYH�GH�DUKLWHFWXUĆ�üL�

37

VLWXDĦLL�XUEDQH�GLQ�XOWLPLL��GH�DQL�

ÍQ� ORFDĦLLOH� GH� WUDQVPLVLH� YRU� À� SDQRXUL� FDUH� VĆ�SRDWĆ�FRQHFWD�WUHFĆWRULL�OD�3DYLOLRQXO�GLQ�9HQHĦLD��SULQ�DGUHVH�GH� WLS�45�FRGH��&RQHFWDUHD�YD�À�una simpla prin intermediul internetului mobil, iar SHQWUX�D�WUDQVPLWH�XQ�PHVDM�VH�SRDWH�SXU�üL�VLPSOX�WULPLWH�XQ�606�� ÍQ�DFHODüL� WLPS��GLQ�SDYLOLRQXO�GLQ�9HQHĦLD�VH�YD�SXWHD�UHDFĦLRQD�FX�SĆUHUL�GHVSUH�FHHD�FH�VH�YHGH�OLYH��LQWHUPLWHQĦD�GH�LPDJLQL�OD�10 secunde) prin intermediul tabletelor puse la GLVSR]LĦLH� VDX� D� WHOHIRDQHORU� PRELOH� SHUVRQDOH��Acest tip de feedback, generat automat de un VRIWZDUH� SUHDODELO�� SRDWH� À� H[WUHP� GH� DWUDFWLY��GDU� üL� IRORVLWRU� SHQWUX� VRQGDMH�� GRFXPHQWDUH�sociologica, etc. Modalitatea aceasta de LQWHUDFĦLXQH� LQYLWĆ� YL]LWDWRULL� VĆ� SDUWLFLSOH� DFWLY� üL�VĆ� vüL� H[SULPH� SDUHUHD� UHÁHFWkQG� DVXSUD� WHPHL�Bienalei.

3DYLOLRQXO� 5RPkQLHL� OD� 9HQHĦLD� GHYLQH� XQXO�LQWHUDFWLY�üL�LQWHUFRQHFWDW�FX�5RPkQLD��GHYHQLQG�R� DQWHQĆ� GH� WUDQVPLVLH� �UHFHSĦLH� SHQWUX� ĦDUĆ�üL� YLFH�YHUVD�� (O� QX� H� GRDU� R� VLPSOĆ� H[SR]LĦLH� FL�XQ� PLMORF� GH� FRPXQLFDUH� FH� IRORVHüWH� XOWLPHOH�WHKQRORJLL�vQ�GRPHQLX�

Transmisiile live de pe parcursul celor 6 luni GH� H[SR]LĦLH� YRU� À� DUKLYDWH� OXQDU�� LDU� OD� VIkUüLWXO�H[SR]LĦLHL� VH� YRU� PDWHULDOL]D� vQWU�XQ� PDWHULDO�GRFXPHQWDU�FH�SRDWH�À�IRORVLW�FkW�üL�SUH]HQWDW�vQ�PX]HH�üL�FHQWUH�FXOWXUDOH�FRQWHPSRUDQH�

��2QFH�WKH�KLVWRULFDO�LQFXUVLRQ�ÀQDOLVHV�ZLWK�WKH�Return to present tense (back in the JUST NOW space) one can realize that the images he/she just saw represented through 7 chronological times are now presented in their contemporary situation. This way, the visitor can judge fro himself the way in which objects of architecture and urban situations from the last 100 years, have been and still are being absorbed in/by the present.

In transmission chosen locations there will be panels that can connect the people passing by directly to the pavilion (by adress/QR code). The connection will be simple, through mobile Internet, and SMS mesages. In the same time, from the pavilion in Venice visitors can interact /react with their own opinions about the live WUDQVPLVVLRQ��ZLWK��VHFRQGV�GHOD\��WKURXJK�tablets found in the pavilion or personal mobile phones. This type of feedback, generated automatically by a software, can be extremely attractive but also useful for public opinion study, sociological documentation, etc.. This way of interacting invites the visitor to actively take part DQG�WR�H[SUHVV�WKHLU�RZQ�RSLQLRQ�DQG�UHÁHFWLRQ�of the theme of the Biennale .

The Romanian Pavilion in Venice becomes an Interactive and interconected one with Romania, becoming a beacon for emiting/recepting from and to the country. It’s not just a simple exposition, but a device for comunicating WKDW�XVHV�WKH�ODWHVW�WHFKQRORJ\�LQ�WKH�ÀHOG�

Live transmitions over the 6 months of the exposition will be archived monthly, and an the end of the exposition they wil materialise in a documentary material that can be used as well as presented in museums and contemporary cultural centers.

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câştigători

Noua Galerie a I R C C U

46

t i t l u l p r o i e c t u l u i

Emil Ivanescu Elena- Loredana Mihali

Carmen Tanase Marius Danciu Olivia Zahalca

Laura Iosub

EXPLORING IDENTITY

ARHIVELE PAVILIOANELOR NAŢIONALE_CĂTRE UN MUZEU NOMADIC DE ARHITECTURĂ

SURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: EM12345


team//echipa:

P R I Z E[ P R E M I U L ]


47

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,Q�ORF�GH�3URORJ��1914: doctorul Nicolae Minovici deschide SXEOLFXOXL� � EXFXUHüWHDQ�� SURSULD� FROHFĦLH�GH� DUWĆ� SRSXODUĆ� QDĦLRQDOD�� vQ� YLOD� 0LQRYLFL��VLPERO�DO� DUKLWHFWXULL� QHR�URPkQHüWL� GH�SULPĆ�JHQHUDĦLH�� ,Q� WLPS�FH� OD�1HZ�<RUN�� vQ�DFHODüL�DQ�� %UkQFXüL� vüL� GHVFKLGH� SULPD� H[SR]LĦLH�SHUVRQDOĆ��

��2014: va avea loc deschiderea primului muzeu GH�DUKLWHFWXUĆGLQ�5RPkQLD�vQ�FDGUXO�8QLYHUVLWĆĦLL�GH�$UKLWHFWXUĆ�üL�8UEDQLVP�,RQ�0LQFX��%XFXUHüWL, FOĆGLUH�SDUDGLJPDWLFĆ�SULQ�DEVRUEĦLD�D�GRXĆ�VWLOXUL�� FHO� QHR�URPkQHVF�� VSHFLÀF� DQLORU� ¶��üL� PRGHUQLVPXO� IXQFĦLRQDOLVW� DO� DQLORU� ·�� üL�·�� $ÁDWĆ� vQ� FHQWUXO� FDSLWDOHL� 5RPkQLHL�� OD�NLORPHWUXO� ]HUR�� vQ� 3LDĦD� 8QLYHUVLWĆĦLL�� FOĆGLUHD�a constituit cadrul unora dintre cele mai GUDPDWLFH� HYHQLPHQWH� SROLWLFH� GLQ� 5RPkQLD�PRGHUQĆ��GHYHQLQG�DVWIHO�XQ�DGHYĆUDW�VLPERO�VRFLDO�üL�XUEDQ�

Cercetarea Exploring Identity� VH� GHVIĆüRDUĆ�vQ� FDGUXO� UHOLHIDW� GH� SURORJ�� XQ� PRPHQW� DO�FRQVWUXFĦLHL� LGHQWLWDUH� URPkQHüWL� SULQ�DUKLWHFWXUĆ�üL� XQ� PRPHQW� DO� HIRUWXULORU� FRQWHPSRUDQH� GH�UHFXQRDüWHUH� FXOWXUDOĆ� D� DUKLWHFWXULL�� GH� FĆWUH�VRFLHWDWHD�URPkQHDVFĆ�

,GHQWLWDWHD��XQ�H[SHULPHQW�FRQVWDQWIn articolul $UKLWHFWXUD� ,QWHUEHOLFĆ� üL� FKHVWLXQHD�LGHQWLWĆĦLL� FROHFWLYH�� $XJXVWLQ� ,RDQ�� SOHFkQG�1 HUIZINGA, Johan, Amurgul Evului Mediu, Humanitas, tr. H.R. 5DGLDQ��%XFXUHüWL��

“Most of the times, what we’re looking into the past is the RULJLQ�RI�WKH�QHZ�µ�-RKDQ�+XL]LQJD1

,QVWHDG�RI�3URORJ��1914: Dr. Minovici opens for the Bucharest

public, his own collection of national folk art, in Minovici villa, a symbol of neo_romanesque ÀUVW�JHQHUDWLRQ�DUFKLWHFWXUH��:KLOH�LQ�1HZ�<RUN��WKH� VDPH� \HDU�� %UDQFXVL� KDV� KLV� ÀUVW� SHUVRQDO�exhibition.

��WKH�ÀUVW�PXVHXP�RI�DUFKLWHFWXUH�LQ�5RPDQLD�will be opened to the public. Accommodated by the University of Architecture and Urbanism, Bucharest, the building is paradigmatic for absorbing two styles: the neo-romanesque, VSHFLÀF� IRU� WKH� ��V� DQG� WKH� IXQFWLRQDOLVW�PRGHUQLVP�RI�WKH��V�DQG��V��/RFDWHG�LQ�WKH�center of Romania’s capital city, at ground zero, in University Square, the building was the setting for some of the most dramatic political events in modern Romania, becoming a social and urban symbol.

Exploring Identity research is unfolding within the revealed prologue: a moment of Romanian identity construction through architecture and a time of cultural recognition of architecture by the Romanian society.

,GHQWLW\��D�FRQVWDQW�H[SHULPHQWIn the article Interwar architecture and collective identity question,Augustin Ioan, starting from the analysis of Romania’s pavilion at the Paris International Exhibition in 1937, made an extensive 1 HUIZINGA, Johan, Amurgul Evului Mediu, Humanitas, tr. H.R. 5DGLDQ��%XFXUHüWL��

48

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.RROKDDV�GHVFULH�GHVWLQXO�GUDPDWLF�SRVW�H[SR]LĦLH��GH]DVDPEODUHD�üL�SLHUGHUHD�SĆUĦLORU�FRPSRQHQWH��UHJĆVLUHD� ORU� üL�� vQ� ÀQDO�� UHVWDXUDUHD� LQWHJUDOĆ��6WXGLXO�ODVĆ�VĆ�WUDQVSDUĆ�LGHHD�OLSVHL�GH�vQĦHOHJHUH�D� H[SHULPHWXOXL� GH� DUKLWHFWXUĆ� H[FHSWLRQDO�� GH�FĆWUH� R� OXPH�� FDUH�� QX� D� UHXüLW� VĆ� VH� LGHQWLÀFH�FX� PRGHUQLWDWHD� SDYLOLRQXOXL�� ,Q� DFHODüL� DQ�� üL�OD� DFHHDüL� H[SR]LĦLH�� 'XLOLX�0DUFX� YD� UHDOL]D� XQ�SDYLOLRQ�FX� VSHFLÀF�QDĦLRQDO��D�FĆUXL�DUKLWHFWXUĆ�vQFHUFĆ�VĆ�HFKLOLEUH]H�R�PRGHUQLWDWH�GRULWĆ��FX�R�LGHQWLWDWH�GHMD�FRQWXUDWĆ�� ,Q�DQXO� ��XQ�DUWLVW�francez, Laurent Pernel, propune un experiment LQWHUHVDQW� ÀJXUkQG� 3DYLOLRQXO� 5RPkQLHL� GH� OD�([SR]LĦLD� ,QWHUQDĦLRQDOĆ� GH� OD� 3DULV� GLQ� ��VXE� IRUPD� XQXL� FRQWDLQHU� GH� PDUIĆ�� FXSROHOH�pavilionului2�ÀLQG�UHDOL]DWH�FD�LQVHUĦLL�SODVWLF�KLEULGH�SH� VXSUDIDĦD� FRQWDLQHUXOXL�� &RQFHSWXDO�� DUWLVWXO�WUDQVODWHD]Ć� SDYLOLRQXO� GHIRUPkQGX�O�� FD� XQ�VHPQ�DO�LGHQWLWĆĦLL�DOWHUDWH��&X�DOWH�FXYLQWH��WRDWH�SDYLOLRDQHOH� QDĦLRQDOH�� FD� VHPQH� üL� SURGXFĦLL�asumate de o societate la un anumit moment, VXQW�R�DUKLYĆ�YLH�D�XQXL�IHQRPHQ�GH�FRQVWUXFĦLH�LGHQWLWDUĆ�SULQ�DUKLWHFWXUĆ��

,Q�FRQWH[W�URPkQHVF��HOH�GHPRQVWUHD]Ć�R�DQXPLWĆ�ÁH[LELOL]DUH� üL� DEVRUEĦLH� D� PRGHUQLWĆĦLL� GH� FĆWUH�WUDGLĦLH��üL�LQYHUV�GH�FĆWUH�PRGHUQLWDWH�D�WUDGLĦLHL��FDUH��YRP�DUĆWD�SULQ�VWXGLXO�Exploring Identity, nu D�UHSUH]HQWDW�GRDU�XQ�PRPHQW�VLQJXODU� vQ� LVWRULD�DUKLWHFWXULL� PRGHUQH� URPkQHüWL�� FL� R� FRQVWDQWĆ�vQFHUFDUH�GH�DXWRGHÀQLUH� vQWU�XQ� FRQWH[W� JOREDO�major.

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study regarding Romanian architecture in interwar period. In another article, reproduced LQ�60/;��5HP�.RROKDDV�SUHVHQWV�WKH�KLVWRU\�RI�DQ�architectural icon, Mies van der Rohe’s pavilion at the Barcelona International Exposition in 1929.

.RROKDDV� GHVFULEHV� WKH� GUDPDWLF� IDWH� RI� SRVW�exhibition, disassembly and loss of component SDUWV�� UHWULHYDO� DQG� ÀQDOO\�� IXOO� UHVWRUDWLRQ�� 7KH�study transpires idea of a lack in understanding the experiment of exceptional architecture by a world that failed to identify with the modern pavilion. In the same year and at the same exhibition, Duiliu Marcu will develop a pavilion ZLWK� QDWLRQDO� VSHFLÀF�� ZKRVH� DUFKLWHFWXUH� WULHV�to balance a desired modernity with an identity that is already shaped. In 2010, the French artist Laurent Pernelle proposes an interesting experiment, imagining the Romanian Pavilion at the Paris International Exhibition in 1900, as a cargo container, where the pavilion domes2 were realized as hybrid plastic insertions on the surface of the container. Conceptually, the artist translates the pavilion by deforming it, as a sign of altered identity. In other words, all national pavilions, as symbols and productions made by the society at a given time, are a living archive of the phenomenon of identity construction through architecture.

In the Romanian context, they demonstrate a FHUWDLQ� ÁH[LELOLW\� WKDW� WUDGLWLRQ�KDV� LQ�DEVRUELQJ�modernity, and vice versa, so through the study of Exploring Identity we show that this process was not a singular moment in the history of Romanian modern architecture, but a constant attempt at VHOI�GHÀQLWLRQ�LQ�D�PDMRU�JOREDO�FRQWH[W�

If the late nineteenth century captures the idea of nation through archaic and vernacular architecture, early twentieth century, generates the avantgarde who wants to suppress and

2 The original construction was a interpretation of a church in &XUWHD�GH�$UJHü�

49

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purge everything, but who only accentuates further the obsession for traditional, conservative DQG� QDWLRQDO� DUFKLWHFWXUH�� $V� D� UHVXOW�� VSHFLÀF�national architecture, the neo-romanesque of second generation, is elevated to the monument status, living together in an interesting way with that stripped classicism, which produces in the mind of some of the Romanian elite, the feeling of belonging to a global Western culture.

The National pavilions remaining in Romanian architectural history are indisputable evidence of this phenomenon: New York (1939), Paris (1937), or Bucharest Month (1936) are just ways of expressing Romanian identity through cohabitation of the WUDGLWLRQDO� YHUQDFXODU� VSHFLÀF� ZLWK� D� SXUJHG�modernity. Afterwards, the communism in Romania produces a new propaganda identity, the new man with a new architecture: the socialist realism which is actually a neo-classical SDVWLFKH�LQÁXHQFHG�E\�0RVFRZ��WKH�·��·��RU�WKH�one of traditional inspiration, build in propaganda laboratories in Bucharest (the ’70-’80).

%\�WKH�ODWH�¶��V��5RPDQLD�EHJLQV�WR�UHOHDVH�KHUVHOI�from excessive Soviet pressure and appears in international context with an architectural identity issued by the neo-classical Stalinism. Sign of forced industrial modernization, the Romanian indentity is a contemporary one: the proof is the SDYLOLRQ� IURP� ([SR'DPDVF� �� WKDW� UHYHDOV� D�surprising modernity. Metallic, modulated, with a certain structured poetry of the space, shows the LPDJH�RI�DQ�RSWLPLVWLF�DQG�FRQÀGHQW�5RPDQLD��In brief, a good identity slogan of the young communist state. Shortly, this state will surprise the West by apparent political, economic and cultural opening: it seemed that Communism receives and absorbs in a friendly way the capitalist ideas.

As a sign of the general welfare of the period, the totalitarist regime in Bucharest starts the construction on what will be RomExpo, an ample space for exhibitions, packed with pavilions.

50

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Representing the economic map of industrialized Romania, that left behind archaic and agrarian past, the architecture of these pavilions, culminates with a mixed expression between LQGXVWULDO� PRGHUQLVP� DQG� DEVWUDFW� LQÁXHQFHV� RI�QDWLRQDO� VSHFLÀF�� :KDW� LV� LQWHUHVWLQJ� LV� QRW� WKH�complex itself, but the stylistic comparison we will perform, between the three major national exhibitions, each one characteristic for different Romanian regimes: kingship of Charles 1st and Bucharest National Exhibition (1906), the totalitarian regime of Charles 2nd and Bucharest Month Exhibition (1936), and RomExpo as emblem of Romanian communism, at the beginning of a new dictatorship. Each case study talks about a identity pattern that, through architecture, is beeing materialized.

The fall of communism, that fetishized in the 70s DQG� ��V� WKH� IRONORUH� DQG� YHUQDFXODU� VSHFLÀF� LQ�a burlesque manner (blocks with false upstand attic, rustic symbols taken in concrete cladding, etc.) has not stopped the fascination for archaic and vernacular identity. For example, the Romanian pavilion at Hanover in 1997, synthesized a certain natural archaic Romanian culture through a vegetal structural wall, at Tokyo Expo, where the team led by architect Dorin Stefan played the same book of tradition, but this time, the one working with wood. And, within the Romanian Pavilion at the Venice Biennale in 2004, the team led by architect Strudza made a return to traditional and vernacular, through a reinterpretation of its output.

Today, although we live in an oppressive and JHQHUDO� JOREDOL]DWLRQ�� WKH� LGHD� RI� VSHFLÀF�vernacular identity reappeared as a sign of opposition to hyper-technologism and globalism. $OWKRXJK� DOWHUHG�� WKLV� VSHFLÀF� VSHDNV� DERXW� D�search for identity itself, which sometimes is found, sometimes is lost. We explore this experiments by following the signs left by the history of each national pavilion, by architecture of exile,

51

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diaspora, and also by Romanian architectural competitions.

7R�D�GRXEOH�DUFKDHRORJLFDO�LQVLJKWExploring Identity provides a double archaeological insight over Romanian architecture in relation to modernity: exteriority view, marked by exposure of Romanian DUFKLWHFWXUDO� VSHFLÀF� RXWVLGH� LWV� FRQWH[W�� DQG� D�interiority view, that captures a unique history of architecture competitions in Romania, from the EHJLQQLQJ�WZHQWLHWK�FHQWXU\�DQG�HDUO\�WZHQW\�ÀUVW�century. Both views, having as sources Romanian journalism architecture diaries3, build a speech RI� 5RPDQLDQ� PRGHUQLW\�� ÁH[LEOH� WR� WKH� LGHD� RI�identity construction through architecture.

([SRVXUH� RI� VSHFLÀF� RXW� RI� LWV� FRQWH[W�� UHIHUV� WR�Romanian national pavilions archive, built in the global frameworks of international events. They are true paradigms of architecture: EHWZHHQ� DQ� LGHQWLW\�RIÀFLDO� GLVFRXUVH� DQG� XS�to date technology. They speak not only about DUFKLWHFWXUDO�ÁXVWHU��EXW�DOVR�DERXW�HYHU\GD\�OLIH�in a particular moment. Although non-perennial, with a short life span, they are signs of a desire to identify and to represent.

Interiority view, competition research, offers archives of Romanian architecture experiments. Sometimes encouraged, sometimes stopped, VRPHWLPHV�FDPRXÁDJHG�WKH\�DUH�ZLWQHVVHV�WR�D�

�� $UFKLWHFWXUH�MRXUQDOLVP�DV�D�VRXUFH��7KH�H[SRVHG�DUFKLYHV�KDYH�DV�source various articles published in various architecture magazines and newspapers throughout the twentieth and early twenty century. From this point of view, the Romanian architectural publishing culture is not very rich, but has some displays with great continuity VXFK� DV� $UFKLWHFWXUD� PDJD]LQH�� )RXQGHG� LQ� �� VRPHWLPHV�with a traditionalist line or a modern one, but never avant-garde, the magazine captured all the important moments of Romanian PRGHUQLW\�� DUFKLWHFWXUH� ZLWK� QDWLRQDO� VSHFLÀF�� WUDGLWLRQDO� YHUVXV�modernity, socialist realism architecture, functionalist modernism FRPPXQLVP�LQ��V�DQG��V��WKH�WUDGLWLRQDO�DUFKLWHFWXUH�SDVWLFKH�RI�WKH� ��V�� WKH� ��V� TXHVW�� UHWXUQ� WR� D� QHR�PRGHUQLVP� LQWHUZDU�� \HDUV�2000 and searches for new directions in contemporary context, the issue of public space and architecture competitions. Although PDQ\� DUWLFOHV� LQ� WKHVH� PDJD]LQHV� KDYH� D� VXEMHFWLYH� RU� SROLWLFDO�shade, sometimes very pronounced, they are valuable because of time and history: they are a phenomen generated by the attitude of Romanian architectural modernity.

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dramatic clash between modernity and tradition, between the will of the architect and political order, between the need of the palce and global speculation. Their clash is a sign both of modernity, and identity. Paradoxically, the reality of change and the new, promoted by Western modernity, subsidiary assumes, a return to a initial state, pure, archaic and primitive, untouched by consumer society. Revealing itself, Romanian architecture RI� WKH� WZHQWLHWK� FHQWXU\�� KDV� H[HPSOLÀHG� LQ� D�VSHFLÀF�IRUP�WKLV�GXDOLW\�

1RPDGLF�PXVHXPBDUFKLYHExploring Identity is a platform that incorporates two systems: Laboratorium and Tzara House, both built around the idea of contemporary architecture archive and laboratory_museum, which, located in various spaces and places, can speak about Romanian architecture. The two systems are dedicated to Nicolae Iorga and to 7ULVWDQ� 7]DUD�� DV� D� SHUVRQLÀFDWLRQ� RI� 5RPDQLDQ�cultural duality and identity: a tendency for WUDGLWLRQ� DQG� VSHFLÀF� YHUVXV� H[XEHUDQW� IHHOLQJ�of liberation and modernity. If Iorga embodies the conservative and traditionalistic spirit, Tzara represents the Romanian avant-garde spirit, who IXOÀOOV� KLV� WKH�DUWLVWLF�DQG�FXOWXUDO�GHVWLQ\� LQ�H[LOH��Over the over the past 100 years of Romanian architecture and culture, this strange duality of feeling and thinking has always been there, UHÁHFWLQJ�DOVR�RQ�WKH�DUFKLWHFWXUDO�IRUPV�

/DERUDWRULXPLaboratorium is a space dedicated to the personality of Nicolae Iorga, humanist and politician of the early twentieth century to whom we owe the acquisition of the Romanian Pavilion in Giardini and also the Correr Palace.

The Laboratorium, accommodated by ICR Gallery, is a spatial metaphor for the process of research and for the architectural identity experiment, which involves two stages: the dialectic of study

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3ULYLUHD� LQWHULRULWĆĦLL�� FHUFHWDUHD� FRPSHWLĦLLORU��RIHUĆ� DUKLYH� DOH� LQWLPLWĆĦLL� DUKLWHFWXULL� URPkQHüWL�GH�H[SHULPHQW��8QHRUL�vQFXUDMDWH��DOWHRUL�VWRSDWH��DOWHRUL� FDPXÁDWH� HOH� VXQW� PDUWRULL� XQRU� LQWkOQLUL�GUDPDWLFH�vQWUH�PRGHUQLWĆWH�üL�WUDGLĦLH��vQWUH�YRLQĦD�DUKLWHFWXOXL�üL�FRPDQGD�SROLWLFĆ��vQWUH�QHFHVLWDWHD�ORFDOXOXL�üL�VSHFXODĦLD�JOREDOXOXL��&LRFQLUHD�ORU�HVWH�VHPQXO�PRGHUQLWĆĦLL��GDU�üL�D�LGHQWLWĆĦLL��3DUDGR[DO��UHDOLWDWHD� VFKLPEĆULL� üL� D� QRXOXL� SURPRYDW�GH� PRGHUQLWDWHD� RFFLGHQWDOĆ� D� SUHVXSXV�� vQ�VXEVLGLDU�� R� UHvQWRDUFHUH� OD� VWDUHD� LQLĦLDOĆ�� SXUĆ��DUKDLFD� üL� SULPLWLYĆ�� QHDWLQVĆ� GH� VRFLHWDWHD� GH�consum. Descoperindu-se pe sine, arhitectura URPkQHDVFĆ�D�VHFROXOXL�;;��D�H[HPSOLÀFDW� vQWU�R�IRUPĆ�VSHFLÀFĆ�DFHDVWĆ�GXDOLWDWH�

$UKLYD�üL�PX]HXO�QRPDGLFExploring Identity� �HVWH�R�SODWIRUPĆ�DOFĆWXLWĆ�GLQ�GRXD� � LQVWDODĦLL�� Laboratorium� � üL� Tzara House, DPEHOH�FRQVWUXLWH�vQ�MXUXO�LGHLL�GH�DUKLYĆ�üL�PX]HXBODERUDWRU� FRQWHPSRUDQ� GH� DUKLWHFWXUĆ�� FDUH��DPSODVDW�vQ�FHOH�PDL�GLYHUVH�VSDĦLL�üL�ORFXUL��SRDWH�YRUEL�GHVSUH�DUKLWHFWXUD�URPvQHDVFĆ��&HOH�GRXĆ�LQVWDODĦLL� VXQW� GHGLFDWH�� XQD� OXL� 1LFRODH� ,RUJD��LDU� FHDODOWĆ� OXL� 7ULVWDQ� 7]DUD�� FD� SHUVRQLÀFDUH� D�GXDOLWĆĦLL�FXOWXUDOH�üL�LGHQWLWDUH�URPkQHüWL��WHQGLQĦD�FĆWUH� WUDGLĦLH� üL� VSHFLÀF� YHUVXV� VHQWLPHQWXO�H[XEHUDQW� DO� HOLEHUĆULL� üL� DO� PRGHUQLWĆĦLL�� 'DFĆ�,RUJD� vQWUXFKLSHD]Ć� VSLULWXO� FRQVHUYDWRU� üL�WUDGLWLRQDOLVW�� 7]DUD� UHSHUH]LQWĆ� VSLULWXO� URPkQHVF�GH� DYDQJDUGĆ�� FDUH� üL�D� vPSOLQLW� GHVWLQXO� DUWLVWLF�üL� FXOWXUDO� vQ� H[LO�� 'H� D� OXQJXO� FHORU� �� GH� DQL�GH� DUKLWHFWXUĆ� üL� FXOWXUD� URPkQHDVFĆ�� DFHDVWD�FLXGDWĆ�GXDOLWDWH�GH�VLPĦLUH�üL�JkQGLUH�D�H[LVWDW�vQ�SHUPDQHQĦĆ�� UĆVIUkQJkQGX�VH� üL�DVXSUD� IRUPHORU�GH�DUKLWHFWXUĆ�

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(assumptions, antithesis, synthesis, conclusions) symbolized by the arms_instrument placed in center, and case studies represented by digital_spatial archives, placed arround the perimeter. They contain the description and analysis of each case: Romanian pavilions, embassies, pavilions of the Venice Biennale, Romanian architecture export and architectural competitions.

TzaraHouse

TzaraHouse is an interactive device that archives DQG� LQWHUDFWV� ZLWK� VWUHHW� ÁRZ�� 3ODFHG� RXWVLGH�Laboratorium, in Campo Fosca Square, the device consists of:

a) an archive that displays digital studies, and 3D models of Romanian diaspora architecture;

b) interactive DADA structure, that can be shaped in any desired form, by any visitor. The DADA structure invites passers-by to imagine their own home, as a story;

c) a fountain with drinking water, recycled from stormwater;

d) a system of emotive speakers, that will be able to explore the public space;

1RPDG�Archive newspaperNomad Archive newspaper is a free material that every visitor of Experimenting Identity platform will receive. This will help him navigate through TzaraHouse and Laboratorium. It contains an overview study of Romanian modernity as well as search codes for each archive.

DFKL]LĦLRQDUHD�� 3DYLOLRQXO� 5RPkQLHL� GLQ� *LDUGLQL��SUHFXP�üL�3DODWXO�&RUUHU�

/DERUDWRULXP�XO�� DPHQDMDW� vQ� *DOOHULD� ,&5�� HVWH�PHWDIRUD� VSDĦLDOĆ� D� SURFHVXOXL� GH� FHUFHWDUH� üL�experiment identitar arhitectural, ce presupune GRXĆ� HWDSH�� GLDOHFWLFD� VWXGLXOXL� �LSRWH]H��DQWLWH]H��VLQWH]H��FRQFOX]LL��VLPEROL]DWH�GH�EUDĦHOHBXVWHQVLO� GLQ� FHQWUXO� VSDĦLXOXL�� üL� VWXGLLOH� GH� FD]��UHSUH]HQWDWH�GH�DUKLYHOH�VSDĦLDO�GLJLWDOH��SODVDWH�SHULPHWUDO��(OH�FRQĦLQ�GHVFULHUHD�üL�DQDOL]D�ÀHFĆUXL�FD]�vQ�SDUWH��SDYLOLRDQHOH�5RPkQLHL��DPEDVDGHOH��SDYLOLRDQHOH� GLQ� FDGUXO� %LHQDOHL� GH� OD� 9HQHĦLD��DUKLWHFWXUD� GLDVSRUHL�� H[SRUWXO� GH� DUKLWHFWXUĆ�URPkQHDVFĆ��FRPSHWLĦLLOH�GH�DUKLWHFWXUĆ�

TzaraHouse

TzaraHouse este un dispozitiv interactiv de DUKLYDUH� üL� LQWHUDFĦLRQDUH� FX� ÁX[XO� VWUĆ]LL�� 3ODVDW�vQ� H[WHULRUXO� /DERUDWRULXP�XOXL�� vQ� 3LDĦD� &DPSR�)RVFD��GLVSR]LWLYXO�HVWH�DOFĆWXLW�GLQ��

D��R�DUKLYD�FH�H[SXQH�GLJLWDO�VWXGLL�üL�PDFKHWH�DOH�DUKLWHFWXULL�GLDVSRUHL�URPkQHüWL�

E�� VWUXFWXUD'$'$� LQWHUDFWLYĆ� FDUH� SRDWH� OXD�IRUPD� GRULWĆ� GH� RULFH� YL]LWDWRU�� 6WUXFWXUD� '$'$�LQYLWĆ�WUHFĆWRULL�VĆ� vüL� LPDJLQH]H�SURSULD�FDVĆ��FD�o poveste;

F��R� IkQWkQĆ�XUEDQĆ�FX�DSĆ�SRWDELOĆ� UHFLFODWĆ�GLQ�DSD�PHWHRULFĆ�

G�� XQ� VLVWHP� GH� FĆüWL� HPRWLYH� SULQ� FDUH� YRU� À�UHDOL]DWH�VRQGĆUL�DOH�VSDĦLXOXL�SXEOLF��

Ziarul $UKLYD�OD�SXUWĆWRU=LDUXO� $UKLYD� QRPDGĆ�� HVWH� PDWHULDOXO� JUDWXLW�SH� FDUH� vO� SULPHüWH� RULFH� YL]LWDWRU� DO� SODWIRUPHL�Experimenting Identity�� FX� DMXWRUXO� FĆUXLD� YD�QDYLJD� vQ�Laboratorium� üL�TzaraHouse��(O�FRQĦLQH�R� GHVFULHUH� JHQHULFĆ� D� VWXGLXOXL� PRGHUQLWĆĦLL�URPkQHüWL�� SUHFXP� üL� FRGXULOH� GH� FĆXWDUH� DOH�ÀHFĆUHL� DUKLYH� vQ� SDUWH�� =LDUXO� HVWH� R� DUKLYĆ� OD�SXUWĆWRU�

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Momentul determinant care a LQÁXHQĦDW� HYROXĦLD� FHORU� �� GH�DQL� HVWH� FKLDU� FHO� GH� DEVRUEĦLH�al modernismului, ulterior, forte ca razboiul, comunismul, GHPRFUDWLD� HWF� ÀLQG� FHOH� FDUH�DGDSWHD]D�DFHDVWD�DEVRUEĦLH��

Proiectul curatorial va surprinde VHFYHQĦD� vQ� FDUH� LGHLOH�RFFLGHQWDOH� SĆWUXQG� SULQWUH�FĆXWĆULOH� VWLOXOXL� QDĦLRQDO��GH]YROWkQGX�VH� DVWIHO� WHQVLXQL�JHQHUDWRDUH� GH� R� SXWHUQLFĆ�FUHDĦLH�DUKLWHFWXUDOĆ�

Precum Juhani Pallasmaa VXEOLQLD]Ć� LPSRUWDQĦD� VLPĦXOXL�WDFWLO� vQ�DUKLWHFWXUĆ�SULQ� OXFUDUHD�VĆ�The eyes of the skin��DP�GRULW�VĆ�RIHULP� YL]LWDWRUXOXL� R� H[SHULHQĦĆ�SXU� WDFWLOĆ�� HOLPLQĆQG� IDFWRUXO�YL]XDO��'RULP�DVWIHO�VĆ�SUH]HQWĆP�GLIHUHQĦHOH� PDMRUH� GLQWUH� FHOH�

The determining process that LQÁXHQFHG� WKH� DUFKLWHFWXUDO�evolution of the 100 years is the moment of the modernist absorbtion, forces like war, communism or democracy being the evolutionary shape-shifters of the process.

The curatorial project will capture the sequence in which the western ideas penetrate through the searches of a national style, therefore developing tensions that generated powerfull architectural creation.

Like Juhani Pallasmaa underlines the importance of the sense of touch in architecture in his work The eyes of the skin, we would like to offer the visitor a purely tactile experience, eliminating the visual factor. This is how the

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George Mario KuibusMadalina Ghibusi

Alexandru SolomonescAlice Ionita

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team//echipa:

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GRXĆ� FXUHQWH� DQWDJRQLVWH��PRGHUQLVPXO� üL� QHRURPkQHVFXO��Prin expunerea arhitecturii sub IRUPĆ�GH�VFXOSWXUĆ��PDWHULDOL]DUHD��va surprinde simplitatea arhitecturii URPkQHüWL� LQWHUEHOLFH� vQ� FRQWUDVW�FX� VWLOXO� QHR�URPkQHVF�� 6H� YD�invoca calitatea arhitecturii de D� RIHUL� LQIRUPDĦLL� FDUH� GHSĆüHVF�SDOLHUXO� YL]XDO�� )RORVLQGX�üL� GRDU�VLPĦXO� WDFWLO�� RDPHQLL� RELüQXLĦL��YRU� GHVFRSHUL� FXP� SRW� VĆ�UHFUHH]H� vQ� LPDJLQHD� PHQWDOĆ�FKLDU� WHQVLXQHD�GLQWUH� FHOH�GRXĆ�FXUHQWH�SHUFHSXWĆ�WDFWLO�

(VHQĦLDOL]DUHD� VSHFLÀFĆ�modernismului reduce arhitectura OD� FHHD� FH� HVWH� XWLO� HVWHWLF� üL�functional. Sculpturile pentru RUEL� DOH� OXL� %UkQFXüL� HUDX� UHGXVH�OD� IRUPH� VLPSOH� FDUH� FRQĦLQHDX�VHPQLÀFDĦLD�SURIXQGĆ�FH�VH�UHOHYD�numai prin tactil. Å6H� DGUHVHD]Ć� vQ�SULPXO�UkQG�SULYLULL�OĆXQWULFH�D�ÀLQĦHL�XPDQH��üL� QX� XQXL� RFKL� HOLWDU�� L]RODW� vQ� WHRUHWL]ĆUL�VWHULOH�üL�DUJXPHQWH�GRDU�HVWHWLFH�µ�

$P�SURSXV�vQ�VSDĦLXO�SDYLOLRQXOXL�XQ�element central simplu, cu dublu URO��VLPEROLF�üL�SUDFWLF��5ROXO�DFHVWXL�SHUHWH�VHSDUDWRU�FDSĆWĆ�YDOHQĦH�GH�HOHPHQW�FH�DVFXQGH��FRQĦLQH�(simplu la exterior, complex, PLVWLF�OD�LQWHULRU��üL�FDUH�WRWRGDWD�UHOHYĆ�� VSXQH� DGHYĆUXO� GDFĆ� üL�QXPDL� GDFĆ� YL]LWDWRUXO� DUH� FXUDM�(trimitere la boca della verita�� üL�VHWH� GH� FXQRDüWHUH�� 3HUHWHOH�SUH]LQWĆ�XQ�VLQJXU�DFFHQW��R�IDQWĆ�vQJXVWĆ� OD� QLYHOXO� EUDĦHORU� SULQ�FDUH� SULYLUHD� QX� SRDWH� SĆWUXQGH�GDWRULWĆ� DPSODVĆULL�� GLPHQVLXQLL�üL� HFUDQXOXL� GH� IXP� GLQ� VSDWHOH�acesteia. Mesajul de pe pragul pavilionului (FEEL�� vPSUHXQĆ� FX�VLPEROXULOH� üL� FXULR]LWDWHD� XPDQĆ�de a descoperi lucruri ascunse, vQGHDPQĆ� YL]LWDWRULL� VĆ� LQVHUH]H�

major difference between the two poweful currents of the modern time is represented. By exposing architecture as sculpture, the simplicity of the romanian interbelic architecture is contrasted to the detailed representation of the new interpretations of traditional romanian architecture. This way, informations are given in a new way, bypassing the visual dimension of architecture. By using only touch, people will be forced to visualise the image only with the eyes of their mind.

7KH� HVVHQWLDOLVDWLRQ� VSHFLÀF� WR�modernism reduces architecture to its basics. Brancusi’s sculptures for the blind were reduced to simple shapes that contained WKH� SURIRXQG� VLJQÀFDWLRQ� WKDW�only reveals itself through touch. Å,W� DGUHVVHV� ÀUVWO\� WR� WKH� LQQHU� VLJKW� RI�the human being and not to an eye isolated in sterile theories and purely DHVWKHWLF�DUJXPHQWV�µ

We propose a simple, central element in the middle of the pavilion. It holds both a symbolical and practical role. The wall captures becomes a vessels (simple on the outside, complex and mystical on the inside) that reveals the truth only if the visitor has the thirst for knowledge. The wall captures a single accent, a narrow gap at arm level through which you cannot see due to its position and the smokescreen that covers it. The message at the entrance �)((/�, along with the symbols and human curiosity to discover hidden things pushes the visitor to insert his hands into the opening. This way

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they discover (by touch) ten 3d printed models. They can be perceived individually or in parallel, by projecting a mental image of their own. Simplicity is easy to perceive and assimilate, but also profound. Perception through touch recreates the mental image more accurately. By passing from details and abundent decoration to VRPHWKLQJ� PRUH� GLIÀFXOW� WR�visualise through the eyes of the PLQG��WKH�VHQVDWLRQ�LV�DPSOLÀHG��When the mental projection is compared to the visual image at the end, the intensity of the experience reaches its climax.

The pavilion is therefore split in two important areas characterised by the two senses: touch and sight. They are used sequentially in this order for a complete experience. During the second part of the exhibition, the visitor is offered written explanation as well.

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CREATIVITATECONSERVARE

7HPD�SURSXVĆ�SHQWUX�H[SR]LĦLD�GLQ�VSDĦLXO�,5&&8�HVWH� IXQGDPHQWDWĆ� WHRUHWLF� SH�� modernitatea DEVRUELWĆ�� vQ� XOWLPD� MXPĆWDWH� D� VHFROXOXL� ��SULQ� FUHDĦLD� DUKLWHFWXUDOĆ� GH]YROWDWĆ� vQ� JHVWXULOH�de conservare ale patrimoniului arhitectural GLQ� 5RPkQLD�� GDU� üL� SH�conceptul de act critic üL� DFW� FUHDWRU� DO� FRQVHUYĆULL� elaborat de prof. arh. Roberto Pane, unul dintre teoreticienii VHPLFHQWHQDUHL� &DUWH� ,QWHUQDĦLRQDOH� GH� OD�9HQHĦLD��SULYLQG�FRQVHUYDUHD�SDWULPRQLXOXL�arhitectural.

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The topics for the exhibition designated to the New IRCCU Gallery space is theoretically based on: the absorbed modernity since the last half of the 20th century, through the architectural creation developed into Romanian architectural heritage conservation actions, also critical and creative conservation actions elaborated by Arch. Roberto Pane, one of the 1964 Venetian International Charter theoreticians, regarding architectural heritage conservation.

The exhibition named ‘Creativity – Conservation’, suggested for taking place within the tight space of the New IRCCU Gallery, enlightens the almost forgotten Arch. Ioana Grigorescu’s activity �� ²� ��DQG�SUHVHQWV�D�FUHDWLRQDO� OHFWXUH�WKURXJK� YDULRXV� H[SUHVVLRQ� WRROV� VSHFLÀF� WR� WKH�author’s times: sketches, drawings, photos but

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models and recent photographical imagery and REMHFWV� GHVLJQHG� E\� KHUVHOI�� $W� D� ÀUVW� JODQFH��the terms of creativity and conservation have non – complementary meanings, however in the architectural conservation practice they often mix up. When modern architectural phenomenon researches, the least neglected should be theoretical start ups resulted from built up conservation practices.

7KURXJKRXW� WKLV� GHÀQHG� �� ²� �� WLPH� VSDQ��the lady architect’s assertion and recognition within creative community has been achieved. Especially after the WWII, women architect, thus naming Ioana Grigorescu who’s been project leader and coordinator for important projects. Her own professional and capabilities recognition KDV� EHHQ� IXOÀOOHG� WKURXJK� OHDGHUVKLS� DQG�management of important conservation works within Moldavian area, in the north east Romania. These stand for creative, daring examples of conservation architecture using a contemporary approach, though they haven’t been ignored by the unaware critic, however they’d be always a following example for future generations of professionals.

The exhibition design outlines the enlarged vision upon Romanian conservation heritage, featuring also new expressional means occurred through modern architecture and new materials available/ exposed concrete, through spaces and shapes reinterpretation, whether wooden or steel Romanian traditional structures, all as a result of the skilful work of a lady architect working within 6th and 7th decades of the last century. Through her designs, Arch. Ioana Grigorescu tried to preserve the historical authenticity within designed environment whether structural or spatial, inputs complying to the contemporary requirements. Comparative studies and traditional shapes remodeling was a researching method used by the architect in order to enrich various design inputs’ aesthetical qualities within the limitative historical context. Thus, the architect’s creativity adds value and helps one’s understanding on architectural heritage perusal.

The main entrance area dedicated on showcasing architectural creation, richly illustrated through

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expressional and spatial elements based on modern concepts, however mainly subordinated to highly valued historic buildings’ conservation. Here too there is a transparent panelling structure, placed in the centre of the exhibition space, bearing images of exposed concrete, timber, steel, showcasing the modern instruments used through architectural expression but the conservation techniques and interventions designed by the architect versus historical authenticity. In the same time the panels suggest walking and sensory guidance (tactile, the best views to the displayed images). Here, a chair and a stair placed in opposite corners make for ordinary objects, built by architect’s design but they highlight modern takes of traditional Romanian wooden shapes. 7KH�VWDLU�DOVR�SURYHV�KHOSIXO�DV�D�OHDÁHW�GLVWULEXWLRQ�point to visitors. Hung off the hall’s ceiling, a projector connected to a computer will help showing images of architect’s designed buildings and sketches on a semi-opaque screen, placed within a window-frame as these images should be seen as form inside and outside the designated exhibiting space. Thus the window images would pick the by passers attention and they’ll make for an animated invitation to visit the exhibition.

7KH� VHFRQG� DUHD�� DGMDFHQW� WR� WKH� ÀUVW�� PRUH�restrained, is dedicated to architect’s creative studio showcase, the architectural creation hub. +HUH�VSHFLÀF�SURIHVVLRQDO�REMHFWV�DUH�GLVSOD\HG��drawing board, t-square, lamp, drawing tools, pencils as well as notebooks bearing a massive diversity of sketches, books, magazines, and on the walls will be displayed bigger drawings, watercolours, life drawings, illustrating the creative and inspirational artist’s universe. Here WKH�YLVLWRU� LV� IUHH�WR�VKXIÁH�QRWHERRNV�FRQWDLQLQJ�the architect’s working sketches reproductions.

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[ O I S T O R I E C O M U N Ă D E V I S E I N D I V I D U A L E ]

A COMMON HISTORY OF INDIVIDUAL DREAMS

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87

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MOLDING SPACEteam//echipa: Maria GusethIoana Irina NastaseMara BogoescuTudor CostachescuRadu CostachescuMatei BogoescuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: DA68086ÀQDO�VFRUH//SXQFWDM�WRWDO� 61.18

[ M A T E R I A ]

89

90

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ALMANAC

team//echipa:Rozina DragomirIrina NiculescuAlexandru BelenyiSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: IR08116ÀQDO�VFRUH//SXQFWDM�WRWDO� 60.86

91

92

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ETERNAL RETURN[ E T E R N A R E Î N T O A R C E R E ]

team//echipa:

Oana DiaconescuDaniel ArmenciuFulvio RolandoGeorge UrsacheSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: CC00000ÀQDO�VFRUH//SXQFWDM�WRWDO� 58.29

93

94

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MODERN, THEREFORE I AM![ M O D E R N , D E C I E X I S T ! ]

team//echipa: Elena Codina DusoiuCristina GraurAna MohoneaSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: AC23500ÀQDO�VFRUH//SXQFWDM�WRWDO� 58.25

95

96

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i THE ARCHITECTURE OF HISTORY[ A R H I T E C T U R A I S T O R I E I ]

team//echipa: Gabriela Claudia AlexeMircea MargaritIulian UngureanuRadu UrsoiuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: GC12221ÀQDO�VFRUH//SXQFWDM�WRWDO� 58.07

97

98

team//echipa: Ana Maria EpureAnca IonescuRuxandra PanaTibi TircomnicuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: AA70000ÀQDO�VFRUH//SXQFWDM�WRWDO� 55.82

FILL` IN THE SPACE

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[ T R Ă I N D S P A Ţ I U L ]

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POINT OF VIEWBUTTERFLY EFFECT

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[ P U N C T D E V E D E R E . E F E C T U L F L U T U R E ]

Cosmin Cârlugea Helga BalazsBianca MuresanSabin PotinteuSorana PotinteuZoltan BalazsPaul Tiberius Savu

team//echipa: Daniela Maier Radu Mircea Giurgiu Sonia Nechifor Ina HudeaGeorge OtoiuIulia Alexandra PriponAndrada Diana TodeaSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: AW50113ÀQDO�VFRUH//SXQFWDM�WRWDO� 55.39

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ReTURN. It’s your turn[ Î N TOA R C E -T E . E R Â N D U L TĂ U . ]

team//echipa: Loredana BrumaAnamaria VasileIoana DiaconuBogdan Mihai IonitaAndrei DeleanuIrina NeatuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: AR23529ÀQDO�VFRUH//SXQFWDM�WRWDO� 53.68

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UNCOVER THE WALL,DISCOVER HISTORY[ S PA R G E Z I D U L . D E S C O P E R Ă I S TO R I A . ]

team//echipa: George Mario KuibusMadalina GhibusiAlexandru SolomonescAlice IonitaSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: AM12691ÀQDO�VFRUH//SXQFWDM�WRWDO� 53.00

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BETWEEN HISTORY AND MEMORY [ Î N T R E I S T O R I E Ş I M E M O R I E ]

team//echipa: Mariana CroitoruCatalina VarzaruRares PatruSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: CV35273ÀQDO�VFRUH//SXQFWDM�WRWDO� 52.43

107

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UPDATE 100 SAMPLES OF MODERNITY

[UPDATE 100 MOSTRE DE MODERNITATE]

team//echipa: Irina Maria IonescuAnca Ioana IonescuClaudiu ForgaciVlad Alexandru VerguSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: BX11955ÀQDO�VFRUH//SXQFWDM�WRWDO� 52.36

109

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MODERN BOX CHRONICLES[ C R O N I C I L E C U T I E I M O D E R N E ]

team//echipa: Niculae GramaCostina ChisarauMihail ChisarauValentin IonascuMarius PandeleStefan VianuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: GN21041ÀQDO�VFRUH//SXQFWDM�WRWDO� 49.82

111

112

team//echipa: Sergiu Catalin PetreaSabrina EneCristina PetreaSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: TA15210ÀQDO�VFRUH//SXQFWDM�WRWDO� 48.29

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Sharp Wave[ S H A R P W A V E ]

113

114

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ADRIFT[ R I C O Ş E U ]

team//echipa: Silviu AldeaMarius Catalin AldeaCamelia SisakTamas SisakCatalin IliescuAttila MolnarSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: OK68595ÀQDO�VFRUH//SXQFWDM�WRWDO� 47.82

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116

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[RE-START AVANGARDA 100-001. ARHITECŢII TINERI GÂNDESC NECONVENŢIONAL]

Radu BogdanRuxandra StanciuStefan MihailescuMarina Eugenia MihailaCristian Banica

team//echipa: Mara VasileRaluca PestisanuAndra GiugleaMihaela CiolacheSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: KQ98765ÀQDO�VFRUH//SXQFWDM�WRWDO� 46.79

117

118

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RE-LOCATE ACCUMULATION FETISH AS FUNDAMENT[RE-LOCARE. FETIŞUL ACUMULĂRII CA FUNDAMENT]

team//echipa: Laura Nicoleta DumitrescuMircea Adrian MihaiDragos MilaMarjan MostaviIulia Veronica PopescuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: AC42176ÀQDO�VFRUH//SXQFWDM�WRWDO� 44.93

119

120

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THE PELLICLE[ P E L I C U L A ]

team//echipa: Adrian SoareRazvan TivuCosmin AnghelacheRuxandra DinescuAdrian TutuianuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: SY44001ÀQDO�VFRUH//SXQFWDM�WRWDO� 44.54

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U N D E R THE CARPETHIAN GARDEN[ A S C U N S ] S U B C O V O R

team//echipa: Ivona GheorgheValentin GheorghianLucian MateiRadu Stefan PintilieAlexandru SescioreanuHoria UngureanuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: FV03379ÀQDO�VFRUH//SXQFWDM�WRWDO� 44.07

124

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PRESENCE OR THE ELEPHANT IN THE ROOM[ P R E Z E N Ţ Ă S A U E L E F A N T U L D I N C A M E R Ă ]

team//echipa:Radu UrsoiuIulian UngureanuGabriela AlexeSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: UU91815ÀQDO�VFRUH//SXQFWDM�WRWDO� 43.39

125

126

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fRAME[ R A M E ]

team//echipa:Razvan LacraruMihaela LacraruSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: DC15036ÀQDO�VFRUH//SXQFWDM�WRWDO� 42.54

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128

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HIGHlIGHTSIN TIME[ R E P E R E Î N T I M P ]

team//echipa:Andra Elena ApostolescuIrina Valentina DumaSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: AY18329ÀQDO�VFRUH//SXQFWDM�WRWDO� 41.64

129

130

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5 x 20

team//echipa:Daniel Tudor MunteanuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: PV18480ÀQDO�VFRUH//SXQFWDM�WRWDO� 40.93

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PROCESS[ING] MODERNITYteam//echipa:Arpad ZachiAndreea Livia IvanoviciIulia MarianIonut Cristian ButuDana MileaMihai ZachiElena Steliana SmeianuElena Eugenia TarcutaSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: LP25845ÀQDO�VFRUH//SXQFWDM�WRWDO� 36.54

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TIME [DOOR]F R A M E S[ C A D R E T E M P O R A L E [ D E U Ş Ă ] ]

team//echipa:Razvan LacraruMihaela LacraruSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: MR21707ÀQDO�VFRUH//SXQFWDM�WRWDO� 25.18

PANEL LIST[CONCURENŢI]


A SYNTHESIS, OR FOR ANOTHER DON QUIXOTE[138-139]

[ O SINTEZĂ , SAU PENTRU UN ALT DON QUIJOTE ]1W I T N E S S

[140-141]

[ MARTOR ]2MAKING ROOM. A PRACTICE OF THE CONTEMPORARY

[142-143]

[ A FACE LOC . O PRACTICĂ A CONTEMPORANULUI ]3I N F L U E N S

[144-145]

[ INFLUENS ]4

r e - F O C U S E D[148-149]

[ re - FUNDAMENTARE ]6C O N T E X T U A L I S M . P R O J E C T E D F I L L I N G S

[150-151]

[ CONTEXTUALISM. TRĂIRI PROIECTATE ]7W O M B

[152-153]

[ PÂNTEC ]8M O D E R N I T Y I N B A L A N C E

[154-155]

[ MODERNITATEA ÎN BALANS . ECHILIBRUL ]9

1 0 0 L I G H T Y E A R S[146-147]

[ 100 DE ANI LUMINĂ ]5

A R H I T E M P O[156-157]

[ ARHI TEMPO ]10G O L D E N R A T I O

[158-159]

[ PROPORŢIA DE AUR ]11

138

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A SYNTHESIS,OR FOR ANOTHER DON QUIXOTE

G.M.Cantacuzino

[ O S I N T E Z Ă , S A U P E N T R U U N A L T D O N Q U I J O T E ]

team//echipa:Andreea Barbulescu Anastasia BarbulescuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: AA31061ÀQDO�VFRUH//SXQFWDM�WRWDO� 61.79

139

140

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WITNESS[ M A R T O R ]

team//echipa:Milea Lucian SanduDan Cristian SolotDragoş SolotSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: MT6524ÀQDO�VFRUH//SXQFWDM�WRWDO� 55.57

141

142

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MAKING ROOMA PRACTICE OF THE CONTEMPORARY[ A F A C E L O C . O P R A C T I C Ă A C O N T E M P O R A N U L U I ]

team//echipa:Dragos Mihai DordeaFlavia Maria RaduRaluca Maria SturzuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: MR76812ÀQDO�VFRUH//SXQFWDM�WRWDO� 52.68

143

144

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INFLUENSteam//echipa:Tudor IacobCristina CaragheorgheopolAlexandru Mihai PopescuIoana NeacşuAdrian AnghelAlexandra MonoranuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: AA11111ÀQDO�VFRUH//SXQFWDM�WRWDO� 49.75

145

146

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100 LIGHT YEARS[ 1 0 0 D E A N I L U M I N Ă ]

team//echipa:Iulian UngureanuMarius NeagoieSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: IM15060ÀQDO�VFRUH//SXQFWDM�WRWDO� 49.68

147

148

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re/FOCUSED[ r e - F U N D A M E N T A R E ]

team//echipa:Fundatia ArchaeusSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: 21FOCUSÀQDO�VFRUH//SXQFWDM�WRWDO� 48.93

149

150

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PROJECTED FILLINGS

Alex SandulescuElena NedelcuMarius Burhan

[ C O N T E X T U A L I S M . T R Ă I R I P R O I E C T A T E ]

team//echipa:Codina DusoiuMihaela [Balan] LazarDan Adrian IonescuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: MI36912ÀQDO�VFRUH//SXQFWDM�WRWDO� 46.86

151

152

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WOMB[ P Â N T E C ]

team//echipa:Ovidiu MicsaOvidiu BalanAlexandru CheregiSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: HC45412ÀQDO�VFRUH//SXQFWDM�WRWDO� 45.57

153

154

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MODERNITY IN BALANCE[ M O D E R N I T A T E A Î N B A L A N S . E C H I L I B R U L ]

team//echipa:Ioana CiureaTatiana CiureaBogdan GotiaSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: IG22117ÀQDO�VFRUH//SXQFWDM�WRWDO� 40.71

155

156

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ARHI TEMPOteam//echipa:Andra Elena ApostolescuIrina Valentina DumaSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: IR87501ÀQDO�VFRUH//SXQFWDM�WRWDO� 40.54

157

158

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GOLDEN RATIO[ P R O P O R Ţ I A D E A U R ]

team//echipa:Daniel Tudor MunteanuSURMHFW�UHJLVWUDWLRQ�FRGH//cod proiect: NZ10911ÀQDO�VFRUH//SXQFWDM�WRWDO� 38.71

159

T H E JURY[ J U R I U L ]

Associated Professor PhD Architect Bogdan TOFAN - Deputy Commissioner - Uniunea Arhitectilor din Romania / UIA

Professor architect Brian A. Spencer - President - Taliesin West - AIA Fellow

Professor Emeritus Juhani Katainen - full member - SAFA Fellow

Professor PhD Architect Ana Maria Zahariade - full member

Professor PhD Architect Vlad Gaivoronschi - full member

Monica Morariu - Comissioner - Ministerul Culturii

Alexandru Damian

- Deputy Commissioner ICR / MAE

162

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Beginning with the seventeenth century the ideas of nationalism took RQ� D� PRUH� LPSRUWDQW� VLJQLÀFDQFH�in Europe. This is the reason why most of the states that were once organized as principalities, kingdoms, or empires began to lose their unitary characteristic, and became national states. So, at the mid-nineteenth century, the map of Europe was already redrawn, and the nations (in some cases) were trying to complete their national territories after 1918. Most likely, the twentieth century represents the crowning or extreme moment of nationalism, followed by its decline, after the second half of the century, through globalization. Until the middle of the nineteenth century, any educated youngster was stopping, on his gran tour, in Venice, where he would stay for at least a couple weeks in order to visit the most famous works of the Venetian masters. All of thischanged after1860, when Venice became part of the Italian state, and thus the need to create a more novel tourist attractionin order to get a larger spectrum of visitors from the whole world. This was also done in order to stop the polemics of the Austrian media, that accused the Italians of not knowing how to sustain the city and that “life of the glorious Venice” was threatened by the lack of

Cristian Alexandru Damian*

Venice Biennale: National Prints[Bienala de la Vene ț ia : Amprente Na ț ionale]

*Deputy commissioner of Romania at the Architecture Biennial of Venice, 2014

Romanian Institute of Culture and Humanistic Research in Venice

*Vicecomisar al României la %LHQDOD�GH�$UKLWHFWXUĆ�GH�OD�9HQHĦLD��

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involvement of the new authorities. Obviously, the accusations were part of much broaderpolitical expectations on the horizon, Austria was fearful of other irredentist movements in other Italian language territories under her rule.

Thus, with the ideas of nationalism EHLQJ�PRUH�DQG�PRUH�GHÀQHG��DQG�considering the greater need to remove Venice from the Romantic vision (keep in mind that the view of Venice was that although everyone saw its “wonders”, it was more GHÀQHG� E\� WKH� GHFDGHQFH� RI� WKH�Serenissima) was present, the need for another event, both global and globalizing emerged: The Biennale.

&UHDWHG� LQ� �� 9HQLFH·V� $UW�Biennale is aligned, in time, on the same trajectoryas the great world

164

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2GDWĆ� FX� DQXO� �� DSDUH� SULPXO�SDYLOLRQ� VWUĆLQ�� üL� DQXPH�FHO�DO� %HOJLHL��ÍQ� �� OD� FHD� GH�D� RSWD� HGLĦLH� D�%LHQDOHL�� vQ� *LDUGLQL� DX� IRVW� ULGLFDWH�alte trei pavilioane: al Marii Britanii – XQ� SDYLOLRQ� WUDQVIRUPDW� GLQWU�R� FOĆGLUH�PDL� YHFKH�� FRQVWUXLWĆ� vQ� �� FDUH�D� IRVW� UHGHFRUDWĆ� üL� PRGHUQL]DWĆ� GH�arhitectul Edwin Alfred Rickards; al *HUPDQLHL� ²� FRQVWUXLW� vQ� DSURSLHUHD�FHOXL�HQJOH]��FDUH�D�IRVW�UĆVFXPSĆUDW�vQ��GH�OD�3ULPĆULD�9HQHĦLHL��GHPRODW�üL�UHFRQVWUXLW�OD�LQLĦLDWLYD�OXL�+LWOHU�SHQWUX�D�IDFH�ORF�XQHL�FRQVWUXFĦLL�PDL�DGHFYDWH�YL]LXQLL� 5HLFK�XOXL� JHUPDQ� üL�� vQ� ÀQH��SDYLOLRQXO� 8QJDULHL� FDUH� VH� LQVSLUĆ� GLQ�WUDGLĦLLOH�üL�LVWRULD�DUWHL�PDJKLDUH��RSHUĆ�a sculptorului Géza Maróti.

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exhibitions of London, New York, Viennaand Paris. Thus, by inviting artists from all over the world, aninternational element was assured, as was visitors’ attendance to Venice- at a time so needed for the survival of the city. The ÀUVW�EXLOGLQJ�WKDW�ZDV�HUHFWHG�LQ�WKH�DUHD�of Giardini was, obviously, the pavilion of exhibitions (initially named Pro Arte, then The Italian Pavilion, and nowadays being The Exhibition Pavilion), aneo-FODVVLFDO�EXLOGLQJ�WKDW�ZDV�ÀQLVKHG��MXVW�a few days before the opening of the ÀUVW�H[KLELWLRQ��RQ�WKH��WK�RI�$SULO��Even though the Venice Art Biennale started as a national exhibition, there were foreign artists invited as early as the second edition (1897 ).

,Q� �� WKH� ÀUVW� IRUHLJQ� SDYLOLRQ� ZDV�built;it was Belgium’s. In 1909, at the eighth edition of the Biennale, three other pavilions were built in Giardini; Great Britain’s – a pavilion transformed from an older building, built in 1887, that was redecorated and modernized by architect Edwin Alfred Rickards;Germany’s – built near the Britishpavilion, and laterbought in 1938 from the city of Venice, and demolished and then rebuilt under Hitler’s initiative in order to make room for a building that was more inlinewith the German Reich’s vision; and Hungary’s - a pavilion that was inspired bythe Hungarian traditions and art history, a work of sculptor GézaMaróti.

In the same 1907 Biennale edition, 5RPDQLD�ZDV�SUHVHQW� IRU� WKH�ÀUVW� WLPH��being represented in the exhibitions pavilion by artist Frantz Stork.

At the time, pavilions were built in a neoclassical manner. 1907 broughtthe ÀUVW�H[FHSWLRQ��WKURXJK�WKH�FRQVWUXFWLRQ�of the Hungarian pavilion – a building with an extremely national oriented

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În anul 1912 au fost ridicate pavilioanele )UDQĦHL� üL� 6XHGLHL�� DPEHOH� FRQVWUXLWH�GLUHFW� GH� %LHQDOĆ�� ÍQ� �� %LHQDOD� D�acordat pavilionul Suediei Olandei, FDUH� D� FRQWLQXDW� VĆ� vO� GHĦLQĆ� SkQĆ� vQ�� FkQG� SDYLOLRQXO� H[LVWHQW� D� IRVW�GHPRODW�SHQWUX�D�À�UHFRQVWUXLW�FRQIRUP�planurilor lui G. Rietveld din Utrecht. La IHO��GLQ��GDWHD]Ć�üL�SDYLOLRQXO�5XVLHL��R�FOĆGLUH�FX�OLQLDPHQWH�VHQVLELOH��FYDVL�IHPLQLQH��ELQH�UHVWDXUDWĆ�GH�FXUkQG��FX�

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architecture, decorated with mosaics GHVLJQHG�E\�$��.RU|VIRL�DQG�H[HFXWHG�by Miksa Roth.

In 1912, the pavilions of France and Sweden were built, both erected by the Biennale. In 1914 the Biennale gave Sweden’s pavilion to Holland, who used LW�XQWLO��ZKHQ�LW�ZDV�GHPROLVKHG�LQ�order to be rebuilt,according to the plans of G. Rietveld of Utrecht. In the same manner, the Russian pavilion, dated from 1914, and a building very sensitively designed, was wonderfully restored in 2010,with the occasion of the 12th edition of the Architecture Biennale .

$V� ZH� KDYH� VHHQ�� WKH� ÀUVW� QDWLRQDO�pavilions where either built directly by the countries, or by the Biennale who gave them to participating countries. After the initial moments, and after the interruption caused by the First World War, countries that didn’t have a space made increasing requests to obtain a building or land on which to build in the area of the Giardinidella Biennale.

So, if we want to see the area of “Giardinidella Biennale” as a whole, we will notice that we can’t just do that, even if the intention of the Biennale was – at least until the ‘60’s – to create a very well organized space.

The pavilion of the Exhibitions (Italy’s SDYLOLRQ��FUHDWHG�LQ�WKH��VXIIHUHG�many changes along the years with the event’s development. A few rooms that were initially part of a building with a neo-classical façade, the so-called Pro Arte pavilion, became, in time themere entrancehall of a building that developed chaotically . Naturally, over the years, there were projects that regarded the re-making of this space. Some of them were even pulled off, such

166

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IDĦDGĆ�QHRFODVLFĆ��DüD�QXPLWXO�SDYLOLRQ�3UR� $UWH�� DX� DMXQV� VĆ� UHSUH]LQWH�� FX�WLPSXO��XQ� VLPSOX�DQWUHX�DO�XQHL�FOĆGLUL�care s-a dezvoltat aproape haotic . Desigur, au existat diverse proiecte care SULYHDX�UHIDFHUHD�DFHVWXL�VSDĦLX��XQHOH�GLQWUH� HOH� DX� IRVW� GXVH� OD� vQGHSOLQLUH��FXP�D�IRVW�VXSUDHWDMDUHD�VĆOLL�)RQWDQD�din 1966, dar, poate, cel mai interesant proiect de refacere a pavilionului H[SR]LĦLLORU�HVWH�FHO�GLQ��FkQG�D�IRVW�ODQVDW��SULQ�FRQFXUV�QDĦLRQDO��XQ�SURLHFW�FH� SUHYHGHD� GHPRODUHD� vQWUHJXOXL�VSDĦLXO�RFXSDW�GH�3DYLOLRQXO�([SR]LĦLLORU�üL� FUHDUHD� XQXLD� QRX�� 3URLHFWXO� D�IRVW� FküWLJDW� GH� JUXSXO� FRQVWLWXLW� GLQ�)DXVWR�� /XFLR� üL� 9LQFHQ]R� 3DVVDUHOOL��Hilda Selem, Stanislao Alessandri, Paolo &HUFDWR� üL� 3DROR�9ROSDWR� üL� SUHYHGHD�construirea pavilionului pe actuala

as, the stacking of the Fontana room of 1966.Perhaps the most interesting makeover projectof the Exhibition SDYLOLRQ� ZDV� WKH� RQH� IURP� �� WKH�result of a nationwide competition. The project was to demolish the entire complex occupied by the Exhibitions’ pavilion and to create a new one. The project was won by a group formed ofFausto, Lucioand Vincenzo Passarelli, Hilda Selem, StanislaoAlessandri, Paolo Cercato and Paolo Volpato.It proposed the construction of a new pavilion on the grounds of theentry area in the Giardini, thatwould have been visible from the entire S. Marco gulf. For its construction, the new – at the time – Swiss pavilion �� VKRXOG� KDYH� EHHQ� GHPROLVKHG�Eventually, the project wasn’t realized, but the intention to systematize the interior space and the façade of the Italian pavilion remained a constant. In this way, Duilio Torres’s interventions, in 1932, on the Italian pavilion façade gave the building its appearance today. Another very interesting project of re-making of the Italian pavilion is that of Carlo Scarpa, from 1963. It included an almost complete demolition of the building, “destroying any ridiculous expression of façade”, even though – just a few years later, in 1968 – he intervened once again on the façade, covering the columns and transforming them into prisms.

Going back to the evolution of the national pavilions, the initial placement of the buildings on the two main axis of the Giardini (the alley that leads to the Pavilion of Exhibitions and the alley that leads to the British pavilion – on the small DUWLÀFLDO� KLOO� LQ� WKH� *LDUGLQL� �� GLVSOD\��since the beginning of the last century, an ever growing agglomeration of spaces in the area. So, in 1932 the area of Giardini was already saturated,due to building of the pavilions of the United

167

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IDĦDGHL�� SULQ� PDVFDUHD� FHORU� SDWUX�FRORDQH�H[LVWHQWH�üL�WUDQVIRUPDUHD�ORU�vQ�prisme.

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States (1930) and Denmark (1932) that “closed” the area of the Castelloside of the Giardini. On the other hand, requests from countries to obtain a building in the area of Giardini were increasing with the passing of years – requests that continue today – and this is the reason why the Biennale decided to extend construction of pavilions to the area of Sant’Elena.

At the same time as this decision, the history of the Romanian pavilion begins.The Romanian and Yugoslavian pavilions, both constructed in 1938, joined a series of buildings in the area of Sant’Elana,starting with the construction of the Venice pavilion (of Decorative Arts, given later for use to the Democratic German Republic, becoming, later, the Venice pavilion), together with Polish pavilion and the Swiss one (nowadays of Egypt) built in 1932 and drawn by the Italian architect Brenno del Giudice .For more information regarding the Romanianpavilion, and also for the history of Romanianparticipation, werefer to anotherarticleentitled “Il padiglione della Romania dei Giardini di Castello: dall’iniziativa di Nicolae Iorga del 1938 al 1978”, of the Annuario dell’Istituto Romeno di Cultura e Ricerca Umanistica di Venezia, to be published).

We have to note that Del Giudice’s plan was very different in the beginning. Initially, he had a totally different façade

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'HPRFUDWH� *HUPDQH�� üL� GHYHQLQG��PDL� DSRL�� 3DYLOLRQXO� 9HQHĦLD�� DOĆWXUL�GH� 3DYLOLRQXO� 3RORQLHL� üL� FHO� DO� (OYHĦLHL�(acum al Egiptului) construite toate vQ� �� üL� ÀLQG� RSHUH� DOH� DUKLWHFWXOXL�italian Brenno del Giudice . La acestea VH� YRU� DOĆWXUD� SDYLOLRDQHOH� 5RPkQLHL�üL� ,XJRVODYLHL�� DPEHOH� ULGLFDWH� vQ� ��(pentru mai multe detalii cu privire la FRQVWUXFĦLD� SDYLOLRQXOXL� 5RPkQLHL�� GDU�üL� D� LVWRULFXOXL� SDUWLFLSĆULORU� URPkQHüWL��facem referire la un alt articol al nostru, intitulat “Il padiglione Romania dei Giardini di Castello: dall’iniziativa di Nicolae Iorga del 1938 al 1978”, din Annuario dell’Istituto Romeno di Cultura e Ricerca Umanistica di Venezia��DÁDW�vQ�FXUV�GH�SXEOLFDUH��

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in mind (the aspect should have been with a façade and an homogeneous portico, with arcades and pilasters, never realized).The groundswhere the Austrian and Greek pavilions stand today were supposed to have different buildings erected in their place, which would have completed Del Giudice’s entire architectural complex .

The main reason the initial project was abandoned was the Italian national-socialist need to indicate the participationin this ideology Thus, the once neoclassical façade, was replaced with another that belonged to Italian rationalism. Certainly, the principles of functionalism had reduced importance in this case, but it seems that Del Giudice was forced to abandon his original, more traditional plan, more for one deemed more “adequate” to the propagandistic requests of the regime .

The period between 1930-1942 was the one in which rationalist architecture found its best place in the Giardini.In this timeframe, in 1934, Adolf Hitler visited the Biennale, and was followed by the demolition and rebuilding of the German pavilion (1938), in a modern-classical form, the work of architect Ernst Haiger.

As we have seen in this brief view, until the 1942 Biennale (followed by a break caused by the Second World War), the buildings in the Giardini were relatively systematic. Two main types of architecture were present inside the area: the neoclassical one (with some national insertions) and

169

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the ones belonging to the fascist-way rationalism.

After the war, the Biennale activity was only resumedin 1948, after six years of “abandon”. We have to remark that Romania didn’t participate until the H[KLELWLRQ�RI��DIWHU�SDUWLFLSDWLQJ�LQ�her own pavilion in 1938, 1940 and 1942). The Romanian pavilion wasgivenfor use to other countries: once to Hungary (who had to restore its own structure that had been destroyed by time and weather) and twice to Mexico, that didn’t then, and still doesn’t have its own pavilion .

Along with the fall of the socialist national regime of Italy, the architectural needs radically changed. This was demonstratedin the proposal sent by the president of the Biennale, Massimo $OHVL�RQ�-DQXDU\��WK��WR�DOO�RI�WKH�countries that had a building in the complex designed by Del Giudice:

The City Hall of Venice, owner of the park where the International Art Biennale takes place, carefully examined, together with the representatives of this foundation, the question of the

170

development of the Biennale itself; a problem witch, all years is becoming more and more pressing because of the requests from the governments of those countries that, being hosted in the limited rooms of the Central Pavilion, or that aren’t yet present in the event, want to build a proper, permanent construction of their own. In this order, it was studied an organic and urban plan, that includes the development of the actual area of Sant’Elena, where Romania has its own pavilion.

It is my duty to inform you that this plan appears to be very interesting, not only because it offers the possibility to make place for many more pavilions towards the existing ones, but also because it offers a valid way to better valorize that area of the exhibition that, at this moment – because is a bit detached of the rest of the buildings, but also because of the way in which it was designed the architectural complex plan of both buildings and gardens, with the marginal distribution of the constructions and the vast area in front of them, in full sun – is less frequented by the public. This area should be, therefore, entirely renewed.

But the new plan would necessitate the demolition of the existing pavilion complex Yugosavia-Egypt-Poland-Romania and Decorative Arts, and the consequent reconstruction of this buildings on an area that could be larger, with broader areas for each pavilion then the actual ones, given in a way that would allow the construction of separated pavilions rounded by green areas.

It will result, therefore, a more rational orientation of each building, ventilation and temperature of the buildings – that everybody is complaining of – but also the illumination, that will be better

GH�ÅSĆUĆVLUHµ��'H�UHPDUFDW�FĆ�5RPkQLD�QX� YD� SDUWLFLSD� GHFkW� vQFHSkQG� FX�H[SR]LĦLD�GLQ��GXSĆ�FH�SDUWLFLSDVH�vQ� SURSULLOH� VSDĦLL� vQ� DQLL� �� üL�� FHGkQGX�üL� vQWUH� WLPS�SDYLOLRQXO�VSUH� XWLOL]DUH� DVWIHO�� R� GDWĆ� 8QJDULHL��FDUH� WUHEXLD� VĆ�üL� UHQRYH]H� SURSULD�VWUXFWXUĆ� DYDULDWĆ� GH� LQWHPSHULL�� üL� GH�GRXĆ�RUL�0H[LFXOXL��FDUH�QX�GLVSXQH�QLFL�vQ�]LOHOH�QRDVWUH�GH�XQ�SDYLOLRQ�SURSULX��

2GDWĆ�FX�FĆGHUHD�UHJLPXOXL�QDĦLRQDO�socialist din Italia, nevoile arhitecturale V�DX� VFKLPEDW� UDGLFDO�� GXSĆ� FXP�GHPRQVWUHD]Ć� SURSXQHUHD� WULPLVĆ� GH�SUHüHGLQWHOH� %LHQDOHL� 0DVVLPR� $OHVL�OD� �� LDQXDULH� �� WXWXURU� ĦĆULORU� FH�GHĦLQHDX�FOĆGLUL�vQ�FRPSOH[XO�SURLHFWDW�de Del Giudice:

3ULPĆULD� 9HQHĦLHL�� SURSULHWDUD� SDUFXOXL�XQGH� DUH� ORF� %LHQDOD� ,QWHUQDĦLRQDOĆ�GH� $UWĆ�� D� H[DPLQDW� FX� DWHQĦLH��GLPSUHXQĆ� FX� UHSUH]HQWDQĦLL� DFHVWHL�IXQGDĦLL�� SUREOHPD� GH]YROWĆULL� %LHQDOHL�vQVĆüL�� R�SUREOHPĆ�FDUH�FX� ÀHFDUH�DQ�GHYLQH� WRW� PDL� SUHVDQWĆ� GLQ� FDX]D�cererilor ce vin din partea guvernelor DFHORU� ĦĆUL� FDUH�� ÀLQG� JĆ]GXLWH� vQ�VĆOL� OLPLWDWH� DOH� 3DYLOLRQXOXL� &HQWUDO��VDX� FDUH� QX� VXQW� vQFĆ� SUH]HQWH� OD�PDQLIHVWDUH��GRUHVF�VĆ�FRQVWUXLDVFĆ�XQ�sediu propriu, permanent. A fost astfel VWXGLDW� XQ� SODQ� RUJDQLF� üL� XUEDQLVWLF��care prevede dezvoltarea actualei ]RQH�GLQ� 6DQW·(OHQD�� XQGH� üL� 5RPkQLD�are propriul pavilion.

(VWH�VDUFLQD�PHD�VĆ�HYLGHQĦLH]�FĆ�DFHVW�SODQ� DSDUH� FD� ÀLQG� IRDUWH� LQWHUHVDQW��QX� GRDU� ÀLQGFĆ� RIHUĆ� SRVLELOLWDWHD� GH�a face loc la multe pavilioane în plus IDĦĆ� GH� FHOH� H[LVWHQWH�� FL� PDL� DOHV�SHQWUX�FĆ�RIHUĆ�XQ�PLMORF�IRDUWH�YDODELO�SHQWUX� D� UHOLHID� PDL� ELQH� DFHD� ]RQĆ�D� H[SR]LĦLHL� FDUH�� OD� DFHVW� PRPHQW� ²�GDWRULWĆ�IDSWXOXL�FĆ�HVWH�XüRU�GHWDüDWĆ�GH� UHVWXO�FRPSOH[XOXL�GH�FOĆGLUL��GDU� üL�pentru modul în care a fost trasat planul

171

FRPSOH[XOXL� DUKLWHFWXUDO� DO� FOĆGLULORU� üL�DO� JUĆGLQLL�� FX� GLVWULEXĦLD� PDUJLQDOĆ� D�FRQVWUXFĦLLORU� üL� ]RQD� DPSOĆ� OLEHUĆ� GLQ�IDĦD�DFHVWRUD�� vQ�SOLQ� VRDUH�²�HVWH�PDL�SXĦLQ� IUHFYHQWDWĆ� GH� SXEOLF�� $FHDVWĆ�]RQĆ�DU�À��GHFL��UHQRYDWĆ�vQ�vQWUHJLPH�

Dar noul plan ar necesita demolarea complexului de pavilioane Iugoslavia-(JLSW�3RORQLD�5RPkQLD� üL� $UWH�'HFRUDWLYH�üL� UHVSHFWLYD� UHFRQVWUXLUH�D�DFHVWRU�FOĆGLUL�SH�R�VXSUDIDĦĆ�FDUH�YD�SXWHD�À�FKLDU�PDL�PDUH��FX�]RQH�SHQWUX�ÀHFDUH�SDYLOLRQ�PDL�H[WLQVH�FKLDU�GHFkW�cele actuale, acordate astfel încât VĆ� SHUPLWĆ� FRQVWUXLUHD� GH� SDYLOLRDQH�VHSDUDWH�vQFRQMXUDWH�GH�VSDĦLX�YHUGH�

9D� UH]XOWD� DVWIHO� üL� R� RULHQWDUH� PDL�UDĦLRQDOĆ� D� ÀHFĆUHL� FOĆGLUL�� ÀLQG�DYDQWDMDWĆ� DHULVLUHD� üL� WHPSHUDWXUD�FOĆGLULORU��GH�FDUH�WRĦL�VH�SOkQJ��SUHFXP�üL� LOXPLQDUHD�� FDUH� YD� À� GR]DWĆ� PDL�ELQH��FX�LQVWDODĦLL�PDL�PRGHUQH�

'HVLJXU�� 3ULPĆULD� DU� VXSRUWD� FKHOWXLDOD�GH� GHPRODUH� D� DFWXDOHORU� FOĆGLUL�� vQ�vreme ce respectivele state ar trebui VĆ� VXSRUWH� � FKHOWXLHOLOH� SHQWUX� QRLOH�FRQVWUXFĦLL�

$FHVW�SODQ�DU�SXWHD� À�SXV� vQ�SUDFWLFĆ�²� üL� HVWH� GH� GRULW� ²� SHQWUX� %LHQDOD� GLQ��3HQWUX�DFHDVWD�vPL�SHUPLW�VĆ�FHU�JXYHUQXOXL� 5RPkQLHL�� SULQ� vQDOWXO� VĆX�UHSUH]HQWDQW�� VĆ� DGHUH� OD� SURSXQHUH��FDUH�� FX� WRDWH� FĆ� � SRDWH� UHSUH]HQWD�R� FKHOWXLDOĆ�� WRWRGDWĆ� DU� DGXFH� üL�DYDQWDMH�vQ�PXOWH�GLUHFĦLL�vQ�SDUWLFLSDUHD�ĦĆULL�GXPQHDYRDVWUĆ�

0XOĦXPLQGX�YĆ� SHQWUX� XQ� UĆVSXQV� FkW�PDL�UDSLG�SRVLELO��YĆ�WUDQVPLW��H[FHOHQĦĆ��H[SUHVLD�vQDOWHL�PHOH�FRQVLGHUDĦLL�

$VWIHO��SXWHP�REVHUYD�FĆ� OD�PDL�SXĦLQ�GH� GRXĆ]HFL� GH� DQL� GH� OD� FRQVWUXLUHD�3DYLOLRQXOXL�5RPkQLHL��DFHVWD�HUD�GHMD�FRQVLGHUDW�FD�ÀLQG�GHSĆüLW�²�QX�GLQ�SXQFW�de vedere al uzurii sau a economiei de

dosed, with more modern installations, having to gain.

Obviously, the City Hall would support the demolition expenses, and each State would support the expenses for the new constructions.

This plan could be putted in act – and it’s our will – for the Biennial of �� 7KHUHIRUH� DOORZ� PH� WR� DVN� WKH�government of Romania, through its high representative, to join the proposal, which, although it can be an expense ZRXOG�DOVR�EULQJ�EHQHÀWV�LQ�PDQ\�ZD\V�the participation of your country.

Thanking you for a response as quickly as possible, I convey, Excellency, the assurances of my highest consideration.

In this proposal, we can see that Romania’s pavilion was considered obsolete in less than twenty years from its construction, not really1 from the point of view of use or space economy, but rather because of the époque that it represented: Mussolini’s dictatorship. At the same time, the work of Del Giudicewhich suffered due to the stylistic reductions mentioned above,wasn’t and isn’t in any way a poor or disgraceful work.Initially, it was decidedto demolish (to annihilate) what was then a mark of the old regime. Failing to do so, it was then decided to “mutilate”the complex through the destruction of: the water pool in front of the Venice pavilion,the demolition of the colonnade, which ZDV� UHSODFHG�� LQ� �� E\WKH� %UD]LOLDQ�pavilion, a project of Enrique E. Mindlin, Giancarlo Parlanti and Walmyr L. Amaral . We must also remember that

1 It is obvious that this elements had their importance especially because the Italian artists �DQG� ZH� UHIHU� KHUH� DU*DWWXVR·V� JURXS�� ZHUH�complaining of the acute lack of space in Italy’s pavilion, where they had to be hosted together with the foreign artists that didn’t had national pavilions.

172

only Poland and Romania (Romania, through Mac Constantinescu’s and GeorgetaPeleanu’s given verbal agreement) agreed to the demolition of the pavilions in accordance with the Biennale proposal. Even if the possible construction of a new building by the Romanian state was, retrospectively, doubtful, it is certain that at the time.the acceptance from Romania can RQO\� FRQÀUP� D� MRLQW� LQWHQWLRQ�� ERWK�of Biennale and Romanian state organisms.Relying on an objective necessity, it was desired to remove this past era, which was reminiscent of previous dictatorships of the Second World War.

In conclusion to this brief excursus through the history ofGiardini’s pavilions, without stoppingon the latest pavilions erected in the area, of which history doesn’t put so many question marks on the motivations and ways in which they were created and arranged, and remembering that, even though it seemed that with the opening of the Electa book pavilion of James Stirling in the Giardini,things will stay the same (the existing pavilions would be only maintained and not demolished).Buthe facts aren’t so, and will not be so: these days, Australia is rebuilding its own pavilion, after demolishing the old one of just 27 years !

VSDĦLX�vQ�PRG�VSHFLÀF1�²�FL�PDL�GHJUDEĆ�din pricina epocii pe care o reprezenta: GLFWDWXUD� OXL� 0XVVROLQL�� ÍQ� DFHODüL� WLPS��FX� WRDWH� FĆ� RSHUD� OXL� 'HO� *LXGLFH� ²�FDUH�D�VXIHULW��RULFXP��UHGXFĦLLOH�VWLOLVWLFH�DPLQWLWH�PDL�VXV�²�QX�HUD�üL�QX�HVWH�QLFL�SH� GHSDUWH� R� OXFUDUH� GHÀFLWDUĆ� VDX�GL]JUDĦLRDVĆ�vQ�YUHXQ�IHO��D�IRVW�KRWĆUkWĆ�vQWkL� GHPRODUHD� �HOLPLQDUHD� WRWDOĆ��a ceea ce purta amprenta vechiului UHJLP�� GDU�� QHUHXüLQGX�VH� DFHVWHD�� D�IRVW� KRWĆUkWĆ� ÅPXWLODUHDµ� FRPSOH[XOXL�SULQ� GLVWUXJHUHD� ED]LQXOXL� GH� DSĆ� GLQ�IDĦD� 3DYLOLRQXOXL� 9HQHĦLD�� GHPRODUHD�FRORQDGHL� üL� LPSODQWDUHD�� vQ� �� D�pavilionului Braziliei, un proiect de Enrique E. Mindlin, Giancarlo Parlanti VL� :DOP\U� /�� $PDUDO� �� (VWH� QHFHVDU� VĆ�DPLQWLP� FĆ� GRDU� 3RORQLD� üL� 5RPkQLD��GLQ� SDUWHD� 5RPkQLHL� REĦLQkQGX�VH�numai acordul verbal, prin profesorul 0DF� &RQVWDQWLQHVFX� üL� SULQ� GRDPQD�Georgeta Peleanu) au fost de acord cu demolarea pavilioanelor conform SURSXQHULL� %LHQDOHL�� &X� WRDWH� FĆ�HYHQWXDOD� HGLÀFDUH� D� XQHL� QRL� FOĆGLUL�GH� FĆWUH� 6WDWXO� URPkQ� SRDWH� À� SXVĆ��UHWURVSHFWLY�� VXE� VHPQXO� vQWUHEĆULL��vQ� HSRFD� UHVSHFWLYĆ�� FX� VLJXUDQĦĆ��DFFHSWXO� 5RPkQLHL� QX� SRDWH� GHFkW�VĆ� FRQÀUPH� R� LQWHQĦLH� FRPXQĆ�� DWkW�D� %LHQDOHL� FkW� üL� D� RUJDQHORU� VWDWDOH�URPkQHüWL�DOH�HSRFLL��SUHYDOkQGX�VH�GH�QHFHVLWĆĦL� RELHFWLYH�� VH�GRUHD�� LPSOLFLW�üL�HOLPLQDUHD�XQXL��WUHFXW�FDUH�DPLQWHD�de epoca dictaturilor precedente Celui GH�$O�GRLOHD�UĆ]ERL�PRQGLDO��

&RQFOX]LRQĆP�DFHVW�VFXUW�H[FXUVXV�SULQ�LVWRULD� SDYLOLRDQHORU� GLQ� *LDUGLQL� IĆUĆ�a ne mai opri la ultimele pavilioane ULGLFDWH�vQ�DFHDVWĆ�]RQĆ��DOH�FĆURU�LVWRULL�QX�ULGLFĆ�SUHD�PXOWH�VHPQH�GH�vQWUHEDUH�DVXSUD�PRWLYDĦLLORU�üL�PRGXOXL�vQ�FDUH�DX�

�� %LQHvQĦHOHV� FĆ� DFHVWH� HOHPHQWH� DYHDX�LPSRUWDQĦD� ORU��PDL�DOHV�SHQWUX�FĆ�DUWLüWLL� LWDOLHQL��üL�DLFL��QH�UHIHULP�OD�JUXSXO�*XWWXVR��VH�SOkQJHDX�GH�OLSVD�DFXWĆ�GH�VSDĦLX�vQ�3DYLOLRQXO�,WDOLHL��XQGH�WUHEXLDX�JĆ]GXLĦL�DWkW� LWDOLHQLL��FkW�üL�DUWLüWLL� VWUĆLQL�FDUH�QX�GLVSXQHDX�GH�SDYLOLRDQH�QDĦLRQDOH�

173

We see that, being submitted to time, weather, régimes, fashion or necessities, these national and nationalist emblems of the countries

participating in the Biennale have eroded. These erosions have produced a different value, a historical one. The national elementshave tended to disappear from the pavilions’ architecture, as happened in the ��·V�� 7KH�EXLOGLQJV� WKDW� VWLOO� FDUU\� WKHVH�nationalist emblems are perceived with normal detachment, so that ZKDW�5HP�.RROKDV�VDLG�IRU�WKH�SUHVHQW�edition of the Architecture Bienniale –that the process of modernization occurred everywhere in the same way – that it happened just partially exactly where his curated exhibit takes place. Evidently, the process of modernization is continuous, but the remains of history aren’t so easily erased, and the process of modernization can’t be stopped. In fact, thehistory and modernization of architecture represent faces of the same coin: Absorbing Modernity!

IRVW�FUHDWH�üL�DPHQDMDWH��GDU�WUHEXLH�VĆ�VSXQHP� FĆ�� GHüL� VH� SĆUHD� FĆ�� RGDWĆ�cu inaugurarea pavilionului de carte (OHFWD�GH�-DPHV�6WLUOLQJ��vQ�*LDUGLQL�QX�

V�DU�PDL�À�PRGLÀFDW�QLPLF��SDYLOLRDQHOH�XUPkQG�VĆ�ÀH�GRDU�vQWUHĦLQXWH��OXFUXULOH�QX� VWDX� üL�QX�YRU� VWD�DüD�� vQ�PRPHQWXO�GH� IDĦĆ�� $XVWUDOLD� vüL� UHFRQVWUXLHüWH�SDYLOLRQXO��GXSĆ�GHPRODUHD�FHOXL�YHFKL�de doar 27 de ani !

9HGHP��DVWIHO��FĆ��ÀLQG�VXSXVH�WLPSXOXL��intemperiilor, regimurilor, modei VDX� QHFHVLWĆĦLORU�� DFHVWH� HPEOHPH�QDĦLRQDOH�üL��vQ�DFHODüL�WLPS��QDĦLRQDOLVWH�DOH� ĦĆULORU� FDUH� DX� SDUWLFLSDW� OD�%LHQDOĆ� V�DX� HURGDW�� FĆSĆWkQG� R�YDORDUH� GLIHULWĆ�� PDUFDW� LVWRULFĆ��(OHPHQWXO�QDĦLRQDO�WLQGH�VĆ�GLVSDUĆ�GLQ�DUKLWHFWXUD�SDYLOLRDQHORU�� DüD�FXP� V�D�vQWkPSODW� GXSĆ� DQLL� ·�� LDU� FOĆGLULOH�FDUH� vQFĆ� PDL� SRDUWĆ� DVHPHQHD�HPEOHPH� QDĦLRQDOLVWH� VXQW� SHUFHSXWH�FX�GHWDüDUHD�FXYHQLWĆ��DüD�vQFkW�FHHD�FH�5HP�.RROKDV�LQGLFD�SHQWUX�DFWXDOD�HGLĦLH� D� %LHQDOHL� GH� $UKLWHFWXUĆ� ²� üL�DQXPH�FĆ�SURFHVXO�GH�PRGHUQL]DUH�D�WUHFXW�FD�XQ�WĆYĆOXJ�SHVWH�WRW�²�D�DYXW�ORF�GRDU� vQ�SDUWH�� WRFPDL�DFROR�XQGH�VH� YD� GHVIĆüXUD� H[SR]LĦLD� vQJULMLWĆ� GH�el. Evident, procesul de modernizare este dintotdeauna unul continuu, dar XUPHOH� LVWRULHL� QX� VH� üWHUJ� FX� XüXULQĦĆ��DüD� GXSĆ� FXP� QLFL� SURFHVXO� GH�PRGHUQL]DUH� QX�SRDWH� À� RSULW�� ÍQ� IDSW��LVWRULFL]DUHD�üL�PRGHUQL]DUHD�DUKLWHFWXULL�UHSUH]LQWĆ� IDĦHWHOH� DFHOHLDüL� PRQHGH��Absorbing Modernity!

174

Several weeks ago my friend, Prof. Dr. Architecture Bogdan Tofan of Ion Mincu University of Architecture & Urbanism, Bucharest, ask me to write about my feelings, understanding, observations of Romanian architecture. I thought I could do that. I’ve practiced architecture in the United States IRU� DERXW� �� \HDUV� DQG� KDYH�been able to travel in twenty-two countries in my adult life. I’ve been able to design and experience a wide variety of building types. I’ve toured historic architecture examples such as Ephesus, Turkey, WKH�.UHPOLQ�&DVWOH� LQ�0RVFRZ�DQG�the cliff dwellings of the Anasazi Indians of the southwestern United States. I’ve experienced the contemporary of Alvar Aalto’s Finlandia Hall in Helsinki, Finland, Richard Rogers and Renzo Piano’s Centre Georges Pompidou in Paris, France, Ludwig Mies van der Rohe’s Tugendhat House in Brno, Czech Republic, Skidmore Owings & Merrill’s Hancock Tower in Chicago, Illinois and Frank Gehry’s Walt Disney Concert Hall in Los Angeles, California and Frank Lloyd Wright’s Taliesin West in Scottsdale, Arizona.

Certainly I should be able to write about architecture in Romania, at least about my impressions inasmuch as I have traveled to

Timisoara, Oravita, Sinaia, Bucharest and through the countryside.

Timisoara, often referred to as “Little Vienna”, on the western edge of WKH� FRXQWU\� UHÁHFWV� ERWK� EDURTXH�and Secessionist architecture. Bucharest, on the eastern end of the country was nicknamed “Little Paris” due to the sophisticated architecture of Bucharest’s elite populace. Mixed with the historic URRWV� RI� HDFK� FLW\� �7LPLVRDUD� ÀUVW�documented in 1212 and Bucharest LQ��WKURXJK�WKH�FRPPXQLVW�HUD�and to today, each city is a mix of architectural scale and styles. /RRNLQJ�DW�WKH��FKDQJLQJ�LQÁXHQFHV�from natural impacts to social and SROLWLFDO� LQÁXHQFHV�� LW� EHFRPHV�GLIÀFXOW� WR� EH� VSHFLÀF� DERXW� WKH�soul, the essence of Romanian architecture as there are obvious differences depending on where one might visit.

When thinking about describing an architecture.....its time, its place, LWV� FXOWXUH��RQH� PXVW� UHÁHFW� RQ�suggestions of observation. Winston Churchill once said “We shape our buildings; thereafter they shape us.”

But what shapes us to shape our buildings as we do ?

Architecture is a unique profession that expresses our histories, our

The Soul of Romanian Architecture

*ArchitectAIA / IAA / RAASN

Member of the International Selection Jury

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Brian A. Spencer*

175

cultures and ourselves. The purist talks about our constructions as “architecture” in eloquent, often esoteric, terms. The lay person who needs a shelter, a place to work, to HGXFDWH�� WR� UHFUHDWH� RU� IXOÀOO� WKHLU�faith refers to our constructions as “buildings”. Both are correct.

Again, architecture...its time, its SODFH�� LWV� FXOWXUH��ZKDW� LQÁXHQFHV�our architecture ?

7KHUH� DUH� LQWHUQDO� LQÁXHQFHV� DQG�H[WHUQDO�LQÁXHQFHV��

,QWHUQDO� LQÁXHQFHV� DUH� ODUJHO\� WKH�effect of the geographical location; land forms, soils conditions, water, known natural disasters such as ÁRRGV��ZLOGÀUHV��ZLQG�� WHPSHUDWXUH�or even seismic activity. Architecture can be dictated by local materials, local methods of construction, and today, by local zoning and building regulations, local manufacturing and local economics.

([WHUQDO� LQÁXHQFHV� FDQ� EH�caused by immigration, religion, the arts, global economy, war, political change, technologies in materials and construction methods, currency values and so forth. Particularly now, the impact of global architectural practices sees many changes in the design of buildings by architects of totally different nationalities bringing different ideas to a locale. It is the “globalization” of architecture

today.

6R��,�ÀQG�P\VHOI�VWLOO�VHDUFKLQJ�IRU�WKH�“soul” of architecture in Romania.

To the western part of the country is the baroque and secessionist LQÁXHQFH�� 7R� WKH� HDVW� LV� WKH�ÓLWWOH� 3DULVµ� LQÁXHQFH�� (DFK� ZDV�impacted by “globalization” long before the term became popular. $JDLQ�� ,� DVN�� ZKHUH� GR� ,� ÀQG� WKH�“soul” of architecture in Romania. I’ve looked at school buildings, commercial blocks, hotels, churches, industrial buildings and houses. I’m not sure of the roots of the idea or what the unique 5RPDQLDQ� LQÁXHQFHV�DUH�� :KDW� LV�their time, their history, their culture. Was the architect or designer Romanian, a Romanian architect who copied another style or an architect from somewhere else.

Maybe I should start with a walk in Muzeul Satului (the Village Museum) LQ�+HUĆVWUĆX�3DUN�LQ�%XFKDUHVW�WR�ÀUVW�grasp a deeper historical sense. But these buildings, although expressive of architecture unique to Romania, have had their context altered by their transportation to a different locale. Their preservation is certainly important but, their context is lost.

In reality, I am constantly drawn to the images in a book on Romanian architecture that I received from my colleague while I was visiting in Romania. It is a book titled

3LDWUĆ�� &DVH� 7UDGLWLRQDOH� GLQ�Nordul Olteniei. On page 96 is the most exquisite building, Cula &RUQROX�� &XUWLüRDUD�� ,W� LV� D� KRXVH�with character and personality. Throughout this book are other examples, such as Cula Duca, 0ĆOGĆUHüWL�� (DFK� KDV� DUFKLWHFWXUDO�strength, each represents the Romanian “soul” by their history, their culture and the thoughtful consideration of their designer. Each was in its right context and a product of the needs of the owner. The function and use is clearly understood in plan, facade and detail. Each element works together and as a whole. The materials show local expertise, the details are elegantly simple. The building is clearly about the “space within to be lived in”.

The architect or designer was true to the site context, true to his history, true to his culture and true to himself. There is no imitation. I believe I have found the architecture, Romanian architecture. What a treasure to experience. What a treasure to share with others for you have shared your identity with the world. Thank you !

176

The industrial development, started in England, meant a total change also for the architecture.

The material inventions of cast iron, steel, glass and concrete opened the gates for the new kind of constructions.

The ancient stone structures were passed by with the new inventions.

This development needed also less time for the new constructions.

Also the volumes grew, which soon created problems with the quality of the human surroundings.

Fine examples were offered by new EULGJHV�ÀUVW�PDGH�RI�FDVW�LURQ��ODWHU�RI�VWHHO�

A change was seen also in the building of factories, like Saulnier´s Menier Chocalate Factory, which belongs to the early SLRQHHU�ZRUNV�RQ�WKH�ÀHOG�

This development meant also the crisis of culture as it was stated by Gottfried 6HPSHU��

Peter Behrens´s AEG Turbin Factory in Berlin gives a clear type for rational and functional industrial buildings, which had many followers. The question about human scale arose with the rise of massive production, like Hans Poelzig´s Chemical Factory near Posen.(1911-12)

Walter Gropius´s vision about the model factory (1914) took us to the heart land of industry buildings.

These visions also had Antonio Sant’Elia in mind with his Citta Nuova (1914), which took long to be surpassed.

The wars with their destructions changed Europe and the world bringing new needs for rebuilding the world.

We entered again to the world with new materials,like plastics, which helped us to go on with the vast task of construction for the cities we were living.

The visionary projects by Mies van der Rohe from twenties (1919-21) became later realized in the scale not expected like newest developments in China.

The car industry in USA meant huge factories E\�$OEHUW�.DKQ��ZKHUH�DXWRPDWLRQ�JDYH�lead to the scale and form.

We have inherited today plenty of EURZQÀHOG� DUHDV� RI� WKDW� GHYHORSPHQW��which has been described by the movie directors like Andrei Tarkovsky with their pessimistic views of human fates.

Industry meant also a separative vision in townplanning like Charté Athens shows us.

Only after vast unhappy experiences we WRGD\�WU\�WR�ÀQG�DQ�EHWWHU�DQG�PRUH�IDPLOLDU�attitude for creating our cities again.

Also our ways to produce have changed the needed scale by using component thinking and work sharing methods.

Are we today looking forward for the better future for our children in our EURZQÀHOG�DUHDV"

Juhani Katainen*

Site under constructionLooking at the origins of Modernism.

Industrial architecture as a generator of modernity.

*ArchitectSAFA

Member of the International Selection Jury

*ArhitectSAFA0HPEUX�DO�-XULXOXL�,QWHUQDĦLRQDO�GH�6HOHFĦLH

177

Probably, it was the most inventive and lucid historian who has analysed the 20th century, Eric Hobsbawm, who has realised that this was a very short one: it started in 1914, with the beginning of the First World War, and ended in 1991, with the collapse of the Soviet Union. Romania, as an European country which has followed the same time schedule of the whole region, did not only followed the historic fate of a hostile environment, but has also enjoyed the few moments of IXOO� ÁRXULVKLQJ� RI� FUHDWLYLW\� ZKLFK��shortly, has enlightened an awful and black era of dictatorship coming from all the possible political directions. In a country like Romania, if, during the two decades of democracy, architecture had the opportunity to develop freely, after the Second World War, the Romanian architects have made huge efforts to keep the pace, together with what was happening in other parts of the world – others than those conquered by the Soviet army.

The short 20th century started with a bit of confusion. The territory of Romania has almost doubled, after 1918, with the regions of Bessarabia, Transylvania and Bukovina –ancient territories inhabited, mainly by Romanians, but, also, by different

ethnic minorities (Hungarians, Shekels, Saxons, Swabians, Ukrainians, Russians, Serbs, Jews etc.) – which had witnessed the LQÁXHQFHV� RI� WKH� DUFKLWHFWXUH�from the surrounding countries (Russia, Austria and Hungary). That is why, the neoclassic architecture has survived for at least another decade in most of the regions of Romania, while the Art Deco / Secession architecture gave its last works in the beginning of the third decade. However, two were the styles which have marked the third and the fourth decade: the Neo-Romanian style and the Modernist one. For both of them, Romania has offered works of great creativity.

The Neo-Romanian style has developed as a mark of a national identity, in a time when Romania and the Romanians looked VHGXFWLYHO\�WR�DIÀUP�WKH�FRXQWU\�LQ�the European concert of nations. For this style, after the War, probably, George Matei Cantacuzino was the architect who not only left an important theoretical work, but he had also emphasized it in the restoration of some of the most important historical monuments RI� 5RPDQLD� �OLNH� WKH� 0RJRüRDLD�palace). On the other side, he and other important architects (like Marcel Iancu and, most of all,

Monica Morariu*

Romanian modernistarchitecture: more than a fashion

*Commissioner of Romania at the Architecture Biennal of Venice, 2014

Romanian Institute of Cultureand Humanistic Research in Venice

*Comisar al României la Bienala GH�$UKLWHFWXUĆ�GH�OD�9HQHĦLD��

,QVWLWXWXO�5RPkQ�GH�&XOWXUĆ�üL�&HUFHWDUH�8PDQLVWLFĆ�GH�OD�9HQHĦLD

178

+RULD� &UHDQJĆ�� KDYH� XQGHUVWRRG�the new trend of the modernist architecture and tried to adapt to them.The centres of the most important Romanian cities were marked, in only a few years, by new skylines, by buildings which had encapsulated the rationale of simplicity. It was the rhythm of a new world, full of hopes, for peace, prosperity and for an European common horizon.

$V� &RQVWDQWLQ� %UkQFXüL� KDV� FRPH�to the essence of the form, in VFXOSWXUH�� +RULD� &UHDQJĆ� LV�the most radical promoter of bringing the architectural form to minimalism and to the basics of its functions. Altogether with Iancu and Cantacuzino, other architects, as Duiliu Marcu, Paul Emil Miclescu, Grigore Ionescu, Octav Doicescu and Henriette Delavrancea – Gibory were the most important and diligent authors who created not only during the fourth decade (mainly), but also LQ� WKH� ÀUVW� \HDUV� RI� WKH�&RPPXQLVW�power, when they were, however, forced to customize the principles of the Soviet constructivism to what they exercised before. However, they created the most important treasure of the modernist architecture in Romania: personal YLOODV�� EORFNV� RI� ÁDWV� DQG� RIÀFHV��hotels and industrial buildings. In only a decade, the most important

cities of Romania have changed WKHLU�SURÀOHV��ZLWK� ODUJH�ERXOHYDUGV�cut in the texture of the pre-War housings, with architectureprecisely synchronous with what was happening everywhere in the Western Europe. There where the years (approximately 1926 – 1941) when bringing Romania’s standards of living to those of the most advanced countries was a real target, of the modern, bourgeois society. Of course, there were only slices of the urban life which were touched by this trend, but it was like a cutting edge of the entire Romanian community. It was not only the will of a small group of architects to change Romania’s image and traits; it was the dream of a whole generation to modernise the country: intellectuals, investors, industrialists, artists, the aristocrats and the middle class – all of them have contributed to the change of the Romanian architecture, because it was through this architecture that the dynamic Romanian inter-wars generation have tried to express itself. It is very true that the rural settlements were not touché by the same wave. However, even there, the effort to modernise the life of the peasants was visible and fruitful.

What has followed after the end RI� WKLV� GUHDP� ZDV� RQO\� D� ÀJKW� IRU�survival and a long echo of the

PRGHUQLW\�WKDW�ÁRXULVKHG�LQ�RQO\��years of peace and prosperity. The architects have tried to maintain the standards of the modernity gained before the Communists seized the power. Buildings like those designed by Octav Doicescu, Horia Maicu, ALexandru Iotzu, Virgil 1LĦXOHVFX�� &H]DU� /Ć]ĆUHVFX�� ,RQ�Mircea Enescu, Tiberiu Ricci, Tiberiu Niga and many, many others, up to the young generation, represented by Alexandru Beldiman, Dorin ûWHIDQ�DQG�ûHUEDQ�6WXUG]D��7KH\�DOO�are, more or less, indebted to the Modernist thinking.

Towards the end of the Communist regime, the ruling party started to impose its own style and tastes, even in the architectural works. A kind of survival of a late Neo-Classicism was the last breath of the regime, in terms of dictating into architecture. It was the end of a very short and troubled century, in the Romanian architecture also, where Modernism had its time of glory, being the expression of an ideological vanity, while facing a whole range of adversities – from the rise and ascent of the extremist political parties and ideological movements, up to the poorness of the rural side of Romania. In spite of all these, the Romanian Modernist architecture was the expression of what was the best in the Romanian society, during the whole 20th c.

179

Nothing better illustrates modernity and the dynamics of the last century than industrial environments with their atmospheres. Industrial sites represent the new citadels, replacing the old defense walls in a new violent and offensive world. They also represent the common EHOLHI� LQ� SURJUHVV�� DQ� LQÀQLWH�progress. It has to do also with exploring nature and resources for a simple purpose: economical JURZWK�DQG�SURÀW��7KLV�DJH�RI�JUHHG�is materialised by our huge industrial environments.

The out of scale image of industry can easily be added to other paradigms of the modern world, such as Marxist ideology , God’s death, the cult of the masses, the Freudian approach and the theory of relativity.

For architects, industrial architectural languages are lessons about building rationally, functionally . We work for and with industry. Architecture as a tectonic art is more present in industrial examples - the use of concrete, glass and steel structures are very innovative, producing new typologies for large spans, openings and ultimately spaces. Even though many of these spaces are now empty, waiting for demolition or

new uses. Also, industrial extreme material expressions are very important- they present us with a sort of desired magic. We have always to learn something from them.

The very differentiated types of industrial architectural expression have been replaced gradually LQ� WKH� ODVW� GHFDGHV� � E\� HIÀFLHQW�and the same aluminum boxes. Globalisation is present in industrial architecture too.

I think that modernity means continuity as well, not just rupture. There are a lot of traditional patterns which last to this day. And if we talk about “fundamentals”, I have to say that these are timeless, not just a hundred years old.

Fundamentals have to do with the formal, material and spatial patterns ZKLFK� LQÁXHQFH� RXU� SHUFHSWLRQ��which are memorable, which allow us to identify with, which bring us emotion and have a meaning.

)URP� &RUEX� WR� ,WR�� IURP� .DKQ� WR�Siza, from Alto to Piano, we can ÀQG�PDQ\�VXFK�SDWWHUQV��WKHUH�DUH�a lot of spiritual roots to be found in many modern masters. What is truly fundamental is the metaphoric and poetical value of architecture - it is to be found in modern art and

Vlad Gaivoronschi*

Beyond industry

*Prof. PhD Architect

0HPEHU�RI�WKH�MXU\

*Prof. Dr. Arhitect

0HPEUX�DO�MXULXOXL

180

architecture. And it has a lot to do with timeless patterns.

(Among the last Pritzker prize winners, architects such as Peter Zumthor, Wang Shu or Shigeru Ban represent such examples).

“Fundamentals” have to do with architectural language , with elements which distinguish architecture from all other arts and generate buildings as “musical instruments”, to cite Glenn Murkutt’s words.

If so, which are the “musical keys” of architecture?

There are many possible answers and points of view which can be used to answer this question. Yet, in order to avoid a more philological approach, one will focus on only two of the many. Firstly, there is the relationship between the “bones” and the “skin” of a building , its structure - ornament relationship which is often associated with the subject of materiality, mass, tectonic and technology. Secondly, there is the approach of understanding architectural language through both the object and its environment, through place and its inhabitation.

I would personally avoid dissecting “Fundamentals” all the way to the most fragmented level of singular words, even though there are

words, musical keys which can posses metaphorical meaning on their own - this is because it always depends on the context and the frame of reference. I prefer the assemblies where the materiality, the intrinsic substance of building and human activity with its habits and rituals coexist.

As far as I am concerned, I would associate “words” with their vocation, their capacity to mean something. The “words” of Architecture can form sentences and more than that, they can put whole poems together. In contrast, in the absence of a metaphorical goal, these architectural “words” cannot become anything more than meaningless artifacts.

On the other hand, by looking at things at different scales and speeds, language can also be translated through assemblies which we experience with all our senses, generating basic atmospheres to identify with.

Looking back is important in order to generate new types of understanding and reinterpretating modernity- this can happen by going around its doctrines: from Le &RUEXVLHU·V� PDLQ� ÀYH� SULQFLSOHV� WR�the laws of organic architecture put forward by Wright and Steiner, from Loos’s “raumplan” principles (a good example of

modernity absorbing tradition) to Giedion’s time-space and from L. .DKQ·V� ÚRRPµ� �WUDGLWLRQ� DJDLQ��to metabolism, bigness, icons & ”parametric dreams” , and the list may continue. However, I believe that the different tints and shades of modernity can be interesting and can make a pretty good collection among the Bienalle SDYLOLRQV�� 3RVVLEO\�ZH�ZLOO� ÀQG� WKDW��more than expected, traditional and spiritual patterns are mixed with new ones. Possibly, modernity - which appeared some time ago as a rupture - might be understood more like a threshold to a very different period: the new global and digital/virtual world.

In this sense, there is a model : Constantin Brancusi. He was a sculptor, not an architect, but his talent to be extremely old and new at the same time gives us an extraordinary example . Modern and dynamic expressions of ancient symbols can be found in his entire work.

181

This presentation aims at annotating WKH� UHÁHFWLRQ� VWLUUHG�E\� WKH� WKHPH�of the Biennale by proposing an insight into a particular facet of Absorbing modernity. This aspect is VSHFLÀFDOO\�SUHVHQW��HYHQ�GHFLVLYH��in what we called “receiver-areas” (as Romania, for instance), where a modernising message engendered in “source-areas” was cast over different cultural environments, not necessarily prepared to receive it and sometimes even unwelcoming.

Within such receiver-contexts, generally bereft of economic and social support, architectural modernity was mainly triggered by individuals (or small groups) who got drawn into the magnetism of the message; the further away the contexts were from the emitting source, the more important the part these personalities played in shaping the local absorption. These ÀJXUHV� IHOW�� WKRXJKW� DQG� DFWHG�according to two clocks; they had a sense of double belonging: intellectually connected to an external spirit, while deliberately performing in and for the local context. One might say that they were “indigenous aliens”.

However, their evolution on the local scenes is accidental to a large extent, which conferred

the absorption of architectural modernity a syncopated and idiosyncratic character and a VSHFLÀF� IUDJLOLW\�� (YHQ� WKH� VHPLQDO�UROH�WKH\�SOD\HG��JHQHUDOO\�FRQÀQHG�within the national borders, is often lost in the folds of tormented local histories (this is especially common in the ex-communist countries, but not solely).

7KH\� DUH� GLVFUHHW� ÀJXUHV� RI�architectural modernity that the 2nd volume of the sITA journal (Studies of History and Theory of Architecture, (GLWXUD� 8QLYHUVLWDUĆ� ´,RQ� 0LQFXµ��www.uauim.ro) intends to bring to the fore. Questioning the Romanian case, this paper will look at their role as a particular phenomenon, which might be an interesting pattern of absorbing modernity.

Ana Maria Zahariade*

Indigenous Aliens

*Prof. PhD Architect

0HPEHU�RI�WKH�MXU\

*Prof. Dr. Arhitect

0HPEUX�DO�MXULXOXL

182

The 2014 Venice Architecture Biennale supplies a chance to reminisce about what architecture stands for. I believe it will give us the opportunity to put together a thorough documentation as well as a quick review of what architecture as a global phenomenon stands for. To this effect, the Biennale will accommodate the installation of national pavilions dedicated to a single theme: “Absorbing Modernity”. The Central Pavilion will host an introduction exhibit of “Fundamental Elements” that architects all over the world employ throughout their careers, while the Long Hall in the Venetian Arsenal will allow visitors to walk through exhibits pertaining to Italian architecture. As far as the Romanian exhibit is concerned, we intend to open up the discussion about the country’s last century of architectural history, hailing either from within the borders of Romania or produced by Romanian architectures around the world.

Whenever I think about modernity, I associate the concept to the prevailing architectural trends at each moment of my life. These trends pertain to a series of elements: city buildings, streets, movies, music, drawing or painting. Throughout my career, I’ve tried to

discover how modernity manifested itself in each of the aforementioned areas. For example, the modernist element associated to music always accompanies my memories of school projects or certain magazines I used to read.

Each stage of someone’s life or every era brings an element of innovation. A lot of these new trends did not suit my tastes, but I found that by trying to understand these new phenomena and integrating them into my knowledge universe they grew fonder on me. To give you another musical reference, a lot of children happen to listen to %HHWKRYHQ·V� 1R�� &RQFHUWR� DW� D�tender age, but as they develop a more acute cultural awareness they may grow to place it into a cultural context that offers more meaning to their perception of the WKLV�PXVLFDO�SLHFH·V�VLJQLÀFDQFH��

I am of the opinion that hand drawing represents one of the most salient methods through which an architect can transpose her/his personality on paper. The absence of this particular drawing experience may, in my opinion, take away from the richness of the potential that an architect can achieve. If you think about it, actual buildings are also executed

“by hand” to a large extent, just like architecture is built through drawing. As architects, we train for 6 years in order to be able to correctly express our thoughts and ideas through geometry, and thus we shape our thoughts and feelings about space by drawing them on a piece of paper. Much alike words in a book, drawings voice our WKRXJKWV�DQG�WKH\�UHSUHVHQW�WKH�ÀUVW�step in the “construction process”. Afterwards, builders follow these drawings in order to give a material form to an architect’s vision, layer by layer. It doesn’t sound too complicated. It’s simple if one understands the effects of proper lighting and the effects that light has on the interior and exterior of the space one intends to create.

Integrating Modernity The 2014 Venice Biennale Considerations pertaining to the last 100 years of Romanian architecture

Bogdan Tofan

183

%LHQDOD�GH�DUKLWHFWXUĆ�GH�OD�9HQHĦLD�� YD� À� R� ´DGXFHUH� DPLQWHµ�GHVSUH�FH�vQVHDPQĆ�DUKLWHFWXUD��9D�À�R�RFD]LH�EXQĆ�GH�GRFXPHQWDUH�vQ�GRPHQLX��R�SULYLUH�UDSLGĆ�DVXSUD�fenomenului arhitectural mondial in acest moment.

&X�DFHDVWĆ�RFD]LH�YRU�À�DPHQDMDWH�toate pavilioanele nationale pe tema Absorbing Modernity. 3DYLOLRQXO� &HQWUDO� YD� JĆ]GXL� R�H[SR]LĦLH� GH� DUKLWHFWXUĆ� SH� WHPD�Elementelor fundamentale cu FDUH�RSHUHD]Ć�DUKLWHFĦLL�RULXQGH�vQ�OXPH� LDU� vQ� +DOD�PDUH� üL� OXQJĆ�GLQ�Arsenale di Venezia vizitatorii vor SXWHD�EDWH�OD�SDV�H[SR]LĦLD�GHVSUH�arhitectura Italiei.

In cazul Romaniei vom avea de “vorbit” despre ultima suta de ani GH�DUKLWHFWXUD�SURGXVD�vQ�5RPkQLD�üL�SHVWH�KRWDUH�GH�DUKLWHFĦL�URPkQL��

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'DU� vQĦHOHJDQGX�OH� DVLPLODQGX�OH�vQFHSHDX� VD�PL� SODFD�� &RQFHUWXO�de vioara de Beethoven cred ca O�DP�DVFXOWDW� SULPD�GDWD� OD� �� DQL��1X� DP� vQWHOHV� �� QX� PL�D� SOĆFXW� OD�vQFHSXW� ��DSRL� O�DP� vQGUĆJLW�üL� O�DP�vQĦHOHV��$FXP�H�GHMD�LVWRULF��$�WUHFXW�ca un accelerat.

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184

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ABSORBING MODERNITY 1914 - 2014