Articles published by: Nickname

Editorial: Creangă’s Plan

Text: Ştefan GhenciulescuThe plan on the adjoining page really moved us. Not only because it is novel (at least, we could not find it elsewhere), but also because the drawing does not belong to Horia Creangă1, the Modernist hero, but it traces the house of his grandfather, Ion Creangă. Belongs is a way of putting it, as Ion Creangă, a peasant’s son‑turned‑priest most certain­ly did not draw a single line on any paper. He actually didn’t build thedwelling, he bought it. It is a minimal house, in a poor district of the Moldavian city of Iași, and which had its share of issues since the very first years (…)

DOSSIER: IDEAL & MATERIAL

Coordinators: Ștefan Ghenciulescu, Cătălina Frâncu

Intro

A first split into categories for this file sounds a bit like an index of materials—recomposed wood, glass and polycar­bonate, metal, concrete, special textiles, and of technolo­gies—3D moulds, lamination, gas and heat recovery, smart buildings. Obviously, our aim was not that of creating a syn­thetic catalogue, but rather of discussing material and architecture, or rather the architecture‑defining material. This is an age‑old story—about intelligent building, (maybe dec­orated and) transfigured into spaces and form, or, on the contrary, about the form thought of in itself, in search for the structure to make it happen (…)

Wooden Landscape

Vertical Studio: Creatopy HQ, Săldăbagiu de Munte (Bihor)

Text: Gabriel Chiş‑Bulea, Mădălina Mihălceanu, Marius Şoflete, Ştefan Ghenciulescu
Foto: Kinga Tomos

There are few CLT (Cross‑Laminated Timber) buildings in Romania. There are even fewer quality architecture buildings made of this material. Therefore, the emergence of this small office centre close to Oradea is even more important. It is the first building in Romania to achieve the “Low Energy Passive House” standard, but more than that, it’s a com­plex and poetic work. Its creation was possible precisely due to an exemplary involvement of the client and to their collaboration with the ar­chitects, and a multidisciplinary engineering team. We talked about all these, but also about ecology, money, spaces, architectural expression, landscape, with architects Gabriel Chiș‑Bulea and Mădălina Mihălceanu, and with Marius Șoflete, founder of the Inginerie Creativă office.

Paris×3

The Return of the City

Three historic and public places. And three superstars: „Arc de Triomphe Wrapped”—Christo & Jeanne‑Claude, La Samaritaine—SANAA, Pinault Foundation—Tadao Ando.

L’Arc de Triomphe Wrapped

We start with a temporary event, which managed to mobi­lize, according to organizers’ estimates, over 6 million peo­ple, of which more than half came from outside the Parisian region. It is Christo and Jeanne‑Claude’s posthumous work, called “Arc de Triomphe Wrapped”, an installation they im­agined in the ‘60s, but which could only take shape after its authors were gone.

Then there are two buildings, located close to one another, in the city’s (epi)centre. The two projects are relat­ed to this vicinity, and also to the two initiators’ famous ri­valry. The Pinault Foundation, investing in the Paris Trade Exchange’s former building, is the response of billionaire Francois Pinault (owner of the Kering Group) to the Lou­is Vuitton Foundation construction (architect Frank Gehry, see Zeppelin no. 130). Nearly at the same time, Bernard Ar­nault, owner of LVMH (which holds Louis Vuitton) inau­gurated the new Samaritaine complex, in the presence of the President of the French Republic, just a few hun­dred metres away from his long‑time competitor’s founda­tion’s building:

Samaritaine. The Department Store

“The Department Store” (Le grand magasin, Fr) is an architectural/commercial typology which starts to appear in Western Europe at the beginning of the 19th century (the famous KaDeWe opens in 1805 in Berlin), then spreading throughout most Western Europe. The era’s cultural and economic context made this type of store a Parisian typol­ogy par excellence, as the French capital saw an explosion of “department stores”, which then spread out to the rest of France.

The Foundation Pinault

The foundation which Francois Pinault imagined in order to be able to exhibit his important collection of contemporary art has a long and interesting history, which we will attempt to briefly tackle. (…) After many negotiations and discussions with the City Hall, the site of the former Trade Exchange (in itself the former Grain Hall) was retained, a building that is a registered historical mon­ument, sharing a beautiful symmetrical composition with the new building of the Parisian Halls. A building placed in the centre of the city, very close to the main tourist attrac­tions, such as the Louvre, in short, a perfect location for a new Parisian museum.

Vertical Garden and Roof Greenhouse

Kuehn Malvezzi: Administrative Building, Oberhausen

Text & project: Kuehn Malvezzi
Photo: hiepler, brinier

In Oberhausen, while the insertion of Europe’s largest mall—the Centro, brought along jobs and investments, it also killed off the trade and, therefore, the urban life in the central area. Beyond the economic and social issues, the city is severely affected by an erosion of identity and a lack of urban activities. The latest regeneration efforts are there­fore focused on the historic area and on injecting new and valuable energies in the medium and long run.

It is also the case of this operation, designed from the start not only as a functional perspective, but also as a model project. And not solely for Oberhausen. (…)

Residence for the Elderly, Rixheim

Lacaton & Vassal

The project of 18 rental dwellings in Rixheim (Mulhouse), carried out by SOMCO (public limited company of HLM) is devoted primarily for elderly people. It consists of a building on the ground floor with one floor forming two wings con­nected by a crossing hall, located on the edge of two public roads, to the South and to the West, on the place of a for­mer skate park. On its northern and eastern parts, the site has a steep slope planted by a mass of tall trees.

This implementation aims to preserving the exist­ing vegetation, in particular the alignment of trees locat­ed in the top of the slope, to keep the maximum surface in natural ground on the plot and to free the center of the plot for a garden.

Matrix in Wood

Peris+Toral Arquitectes: Social Housing, Cornellà de Llobregat

The residential building in Cornellà de Llobre­gat (Barcelona) is for now the largest build­ing in Spain with a Wooden Structure. It hous­es 85 dwellings on five floors and used a total of 8,300 m2 of wood from the forests of the Basque Country.

Topological Construction and Design

Svelte—the Story of an Innovative Technology Born in Brasov

Svelte is a startup created to deliver efficient manufacturing solutions for complex foamwork. The company develops fully in‑house a machine‑system working on an innovative technol­ogy that generates double‑curved moulds 60x faster and 50% cheaper than current solutions.

Baubüro in situ: Extending the Cycle

The Building Built with Construction Waste Received the Global and the European Prize at the 2021 Holcim Awards

The project consists of an extension of added floors that are made out of the demolition waste from other construction sites. An industrial building in Winterthur, Switzerland will be repurposed to create a series of 12 units/studios. The design process starts with the collection and classification of building elements sourced from dismantling and demolition operations, and the identification of their potential for recycling. An external steel staircase, aluminium windows, metal corrugated sheets, roof insulation and photovoltaic modules are all salvaged from previous buildings and given a second life. For example, steel beams are reused for the new structure and old façade stone cladding is redeployed as floor tiles.

ZOOM

The Venice Architecture Biennale

Between Superficiality and Substance. Is It Bad to Be Woke?

I read about this biennale that it’s the most relevant of them all, the most ideological, weak, conformist, obsolete, revo­lutionary, aware, visceral, unexpected, compliant, lacking in substance, irrelevant, woke, not woke enough, or all of it at once.

As long as it has the power to generate such strong and diverse reactions, maybe it is worth the question Why all the noise? It’s just the biennale—architecture magazines write about it every year, only architects speak about it, them and their unfortunate friends. It’s a wasteland of mod­els and scaled drawings hung in the air or on walls looked at by dedicated students from all over the world who come to admire & steal graphic techniques, to touch the pan­els that passed through the hands of the interns of their favourite architects and intimidate their colleagues who couldn’t come with their fresh knowledge, delivered proud­ly and with a sense of belonging to an elite group. How can such a dusty event finally incite so much revolt, disappoint­ment, admiration and pleasure? How is it possible that professionals who are used to speaking to each other in terms known only to them suddenly declare war on each other?

A Dense Garden‑City

Igual & Guggenheim: Apartment Buildings in Rapperswil, Switzerland

One pedestal, two monoliths, one folie and a common space. The new residential devel­opment breaks with the orthogonal system of the neighborhood, while extending, compress­ing and and then freeing again the surround­ing green space. The transparent annexes, the large roof eaves, the fine and textures and de­tails balance and tame the big general gesture. Classical principles are both affirmed and con­tradicted throughout the project.

A Silent Witness

Space Casuals: Rehabilitating the House at 30, Coandă St., Bucharest

This is the story of a house built in 1900 to a Bucharest of different flavours and different values. All this time, the house has been a silent witness, it has navigated history al­most anonymously, it saw two wars, a few different gen­erations and regimes, earthquakes and city transforma­tions. We found it as a dying and lonely patient, whose fate could have been that of many other similar ones, which fad­ed away just as anonymously, making place to a definitely more restless, more chaotic Bucharest, one devoid of land­marks and memory. Up to the end, it turned out to be a sto­ry about happy happenings and encounters, unfolding pa­tiently and passionately, with the occasional restlessness of not seeing the light at the end of the tunnel, with unpre­dictable situations, solved on the fly, with disarming failures and happy endings. A silent witness, it stubbornly stayed put and continued to watch the city. It will continue so, we hope in a healthier, more dignified way and clothed some­what better, appropriate to its age and dignity.

Mora 35

Living in 52 Square Metres

A small space, hidden inside a post‑war building, built in an aristocratic residential neighbour­hood defined by the aesthetic and cultural vision of the elites of the first half of the 20th century.

Art Deco Luminaires. Dragoş Dogaru

Contemporaneity and Hystoricism in One Single Object

Art‑Deco, the French‑born modernism, is a structure for ar­tistic expression rather than a style, encompassing all that needs to be said after the abstracting‑essentialising pro­cess involving the geometrization of an element or an idea. Being so volatile, it easily infiltrates through the cracks be­tween the European illustration, print, cinema, art, music, etc. Not bypassing Great Romania, of course, it reverber­ates all the way to Bucharest.

Through the collection of lighting fixtures #newartdeco to­gether with the collection of textile design #opartdeco DragoșDogaru reworks the priceless heritage and lan­guage of #artdecobucharest whose promoter he has been for more than a decade.

Saul Steinberg

(Bucharest)–Milano–New York

This is the story of Saul Steinberg, born and raised in Ramnicu Sarat and Bucharest, educated in Milan, that survived fascism and war to bring his Eastern‑European accent and irony to New York, and draw his trace there.

Women ‘Enemies of the People’

An Exhibition at the Sighet Memorial Exhibition Space in Bucharest

As any other totalitarian regime, Communism did not take into account factors such as age, gender, state of health or cultural level of the people it repressed. ‘Enemies of the people’ weren’t only adults, but also children, weren’t only men, but also women. Countrywomen and female aristo­crats, intellectual and simple women, older women, teenag­ers or even girls, pregnant and postnatal women, as well as women with breastfed children were considered to pose a potential threat to the regime.

PLANS

This plan really moved us. Not only because it is novel (at least, we could not find it elsewhere), but also because the drawing does not belong to Horia Creangă[1], the Modernist hero of romanian architecture, but it traces the house of his grandfather, Ion Creangă – the hero of romanian literature.

An L shaped house with hidden pockets and green perspectives – extroverted, transparent, it opens itself to nature: from the courtyard, an exhibition of spaces, solid and void among which one may feel like hiding; from the street an elegant object, quite different from its built context, whose effervescence often generates a stop, inviting people to interact with it (neighbors told us).

This is one of the most coveted areas in Bucharest: north from the central ring, there is a chain of the perfectly structured luxurious garden-neighbourhoods, with the beautiful villas and blocks of flats of the interwar elite.

A precious place

… and a complicated one. Around the Calea Victoriei area, between the Revoluției Square and the Elisabeta Boulevard, most historical streets are overlapping, from the sinuous, typically Balkan route of Calea Victoriei and the wonderful Kretzulescu church, to the eclecticism of late 19th-century public buildings and houses and then to the flamboyant Neo-Romanian and the Modernist Art-Deco elegance of the 1930s. The post-war period gave us, first and foremost, the Palace Hall and Square complex, an urban operation which entailed significant destructions and difficult relationships with the urban fabric beyond it, but holding genuine urban and architectural qualities.

The project makes it possible to completely renew the site, and on a more global level, to think about collective housing and the environmental approach to it. Both employed on this plot to create a new urban pattern that may generate of good quality and sustainable development.

ASTRA VR is a museum project which uses VR technology, sound installations, and cartoons to make traditional culture heritage much more accessible. ASTRA Museum of Traditional Folk Civilization undertook to innovate its means of expression and to come closer to a new generation of visitors.

Introduction

Text: Ștefan Ghenciulescu

As you probably know, the “Roșia Montană” natural and cultural site was included on this year’s UNESCO’s World Heritage list. This is, of course, a tremendous joy, the result of fierce battle which was fought, in varying proportions, by hundreds of thousands.
But this is not what I want to talk about here, but about what I learned, while reading this year’s list and then a few from the past few years.

Vă spuneam acum ceva vreme cât de importante sunt pentru noi abonamentele: ele permit revistei să ajungă la cititori la un preț mai mic, iar pentru noi sunt și semnul unei relații speciale, bazate pe încredere și stabilitate.

Începând cu numărul 162, fiecare exemplar ce ajunge la abonați conține un mic cadou.

Editorial: 20 years. And on

Text: Ştefan Ghenciulescu

Twenty years ago, I officially started my work in this magazine’s management team.Well, it had a different name back then, and had a different status, but it was still an independent publication. When I say management team, I burst a bit into laughing, because that team was also the editorial team, and even the design one. Up to 2004, it was the same three people – Cosmina Goagea, Constantin Goagea and myself, who would also take care of marketing (that is, advertisement money), and the backpack distribution. (…)

DOSSIER: MODERNISM. CONTINUED

Intro:
Text: Ştefan Ghenciulescu

As you probably know, the “Roșia Montană” natural and cul¬tural site was included on this year’s UNESCO’s World Her¬itage list. This is, of course, a tremendous joy, the result of fierce battle which was fought, in varying proportions, by hundreds of thousands.
But this is not what I want to talk about here, but about what I learned, while reading this year’s list and then a few from the past few years.
Thus, among monuments and sites, sometimes thousands of years old, I also found a place I used to cherish and visit as a student, the Mathildenhöhe complex in Darmstadt, an artists’ colony and a peak of the German Sezession style; then, closer to us, the works of Jože Plečnik in Ljubljana, an acknowledgement of the exceptional value of an unrateable modern architect. Farther away, but closer in time, there is also a Mexican engineer on the list. Since the 1950s, Eladio Dieste has built such delicate brick-vaulted buildings, that they seem made of paper. In fact— architects, watch out!—this year’s list is full of engineers, because hydrotechnical works have also been included: the “Dutch Water Defence Lines”—the grand programme, over 200 km in length, which took place between 1815 and 1940, or the interwar Trans-Iran railroad. Therefore, at least 5 out of the total 34 included site. (…)

Imposed Limits
Starh: Apartment Building, Bucharest

Photo: Laurian Ghiniţoiu, Vlad Pătru

A Modernist block of apartments, typical of inter-war Bucharest, of the type that is nowadays demolished or butchered without any remorse. Here, it is carefully and respectfully restored and highlighted. Then, the new building, set against the old one, but not in a radical, ostentatious manner, but through subtle weaving. This new building is large, plenty, lucrative, it submits to implacable conditioning. And, ultimately, there would also be the garden, in fact the gardens— common or individual, on the ground floor or as generous upstairs terraces. This is one of the very few low-budget Starh projects, therefore the more meritorious. (…)

Millo Office, Bucharest
ADN BA

Text: Ştefan Ghenciulescu
Photo: Ştefan Tuchilă, Laurian Ghiniţoiu, Adrien Guitard

A Precious Place
…and a complicated one. Around the Calea Victoriei area, between the Revoluției Square and the Elisabeta Boulevard, most historical streets are overlapping, from the sinuous, typically Balkan route of Calea Victoriei and the wonderful Kretzulescu church, to the eclecticism of late 19th century public buildings and houses and then to the flamboyant Neo-Romanian and the Modernist Art-Deco elegance of the 1930s. The post-war period gave us, first and foremost, the Palace Hall and Square complex, an urban operation which entailed significant destructions and difficult relationships with the urban fabric beyond it, but holding genu¬ine urban and architectural qualities.

Until recently, the latest intervention had been nowadays’ Novotel, a commercial architecture implanted during the mid-2000s where the old National Theatre once reigned. This building, loved by Bucharest dwellers, was part of a wider assembly, together with the small platform in front of it, the Telephone Palace miniature sky-scraper (an American-Romanian project), and the Adriatica Modernist building. Severely damaged by the 1944 German bombardments, the theatre could have been restored. But the Communist regime decided to eliminate it, leaving behind a huge gap right in the heart of the city.

After 1990, instead of a public building or space, it was preferred, typical of our savage capitalism, to surrender the land to private investment. In exchange, the city received a false ruin, a light material reconstruction of the original portico: the reinvented past became a decor within a commercial architecture. Millo Office is the first intervention on a larger scale in this area many years later. The other side of the Matei Millo street hosts the building site of the Tandem office building, a project by the same investor and by the same architects.(…)

Searching for the Ideal House
ADN BA: House, Dumbrava Vlăsiei

Text: Ştefan Ghenciulescu
Photo: Laurian Ghiniţoiu

From some points of view, this house is close to a student project—that is, when you imagine a plucky and smart student project, without an actual customer, but in a very real context, which really needs to be done, and which needs to be done well.
The Dumbrava Vlăsiei residential complex is being built along a forest in the northern outskirts of Bucharest. The investor really wanted to stimulate the quality of living and the architectural one, and ordered house projects from several prestigious offices. Once completed, they will be sold (some are already off the market), and, besides, they are meant to set a high architectural standard and to become models for future ones. (…)

DoCoMoMo Romania, Project 5+5, and the Perspective of Modernist Heritage
Conversation with Ana Maria Zahariade, Ruxandra Nemţeanu and Radu Ponta

DoCoMoMo International (International Committee for Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement) was born out of an transnationally (but at that time, isolatedly) shared wish: identifying, researching, promoting and protecting the built heritage left to us by the architects of the Modern Movement.

Rituals of Solitude
A Discussion on (All Kinds of) Modernity with Daniel Tudor Munteanu & Davide Tommaso Ferrando

In last year’s Zeppelin #160, we published the first stage of one of the brightest and complex projects for the 2021 Venice Biennale. The online exhibtion around The Incred-ible and Sad Tale of a Lonely Contessa and Her House for the Inhabitant who Refused to Participate was followed by a pop up event during the actual Biennale, on (actually in¬side of) an old mercantile sailboat—a trabaccolo—moored at Punta della Dogana.

Stefan Ghenciulescu talked to Daniel Tudor Munteanu, Davide Tommaso Ferrando the curators of the Unfolding Pavilion, which is, as they say, “an expanding cu¬ratorial project that pops-up in the occasion of major ar¬chitecture events, with an exhibition featuring each time a different theme inspired by the space it occupies, made of commissioned original works that react to it as well as to its cultural and historic background.”
The art and the reasons to develop exhibitions today, some meanings of terms like modern and contemporary, the role of history for our profession were among the topics that came up.

Reviving the Modernist Housing Block
Restoration of the Serpentine House in Helsinki

Project: Yrjö Lindegren, Kati Salonen & Mona Schalin Architects
Text: Mona Schalin
Photo: Anders Portman/Kuvatoimisto Kuvio Oy

The Serpentine House (Finnish: Käärmetalo) is one of the best-known residential developments in post-war Helsinki—among other merits, it has been listed by DOCOMOMO as a significant example of modern architecture in Finland. The building complex has been undergoing major renovations since 2016, and the first phase was finished 2018

ZOOM

The Glass and Metal Forest
Corvin Cristian Studio: Eden Glasshouse, Bucharest

Text: Ştefan Ghenciulescu
Photo: Laurian Ghiniţoiu

Most modern architecture histories tend to start by presenting the heralding works of the Crystal Palace, the huge greenhouse near London, the train stations with their huge, glazed roofs, or the urban passages in metropolitan city centres. Next came the avantgarde heroes, with their glazed panels aiming to erase the difference between in-side and outside. Glass, alongside metal and concrete, is indeed modernity’s material of choice. As in so many other cases, in recent decades it appears both in exceptional projects, and also in the bland hectares of reflective façades of commercial architecture everywhere. The energy crisis and, more recently, the climate one, have challenged large, glazed areas without solar protection. New technologies may solve much but are generally insufficient to provide comfort and an ecologically responsible thermal balance. (…)

La Glorie Apartment Building Varşovia 6, Bucharest
Corvin Cristian Studio

Text: Ştefan Ghenciulescu
Photo: Laurian Ghiniţoiu

This is one of the most coveted areas in Bucharest: north from the central ring, there is a chain of the perfectly structured luxurious garden-neighbourhoods, with the beautiful villas and blocks of flats of the interwar elite. A territory that was taken up by the Communist nomenclature after the war, and around which all the post-1990 speculative waves revolved. There are hardly any free plots up there so, in recent years, new buildings have needed the demolition of old and precious ones. Radical “rehabilitations” have also intensified lately, usually still entailing the demolition of old houses, with the preservation, at times, of some parts of the façades. An interesting, but sad, phenomenon, is also the recourse to the usually coarse imitation of old styles—as if integration were a matter of style.(…)

Two terracotta houses

Introduction:: Cătălina Frâncu

Casa Mira and Casa Claudia give us the opportunity to analyse two almost neighbouring houses, located in the same district of the Valencian town of Benimaclet and built in the same period. The authors of the interventions are Arturo Sanz and, respectively, Arturo Sanz and Fran López López, and thus we expect to see continuity in the approach of the two projects. On closer inspection, another reason for this continuity arises: both houses are remodelled using a traditional material ubiquitous on the Spanish Mediterranean coast, terracotta. There are still factories in Spain producing terracotta bricks, both industrial and artisanal. Due to the use of the same centuries old recipe, new terracotta interventions age in harmony with preexisting ones, avoiding the new additions persisting too shiny for too long.

Terracotta Adaptation
Mira House, Rehabilitation of a Town House in Benimaclet (Valencia)

Project /Text: Arturo Sanz
Photo: Mariela Apollonio

The Mira House needed to be adapted to current needs through space modifications, flow changes and new functionalities. Being a traditional house, we aimed to keep its identity intact and we worked towards restoring the façade, keeping the original arches, the interior masonry wall, the doors, and the hydro-resistant tiles, which were reas¬sembled to form a carpet-like pattern. We further highlighted the findings from excavations: the masonry walls on the patio, and the ashlars which were used to support a flow of water. (…)

Terracotta Adaptation
Claudia House, Housing Extension around a Patio in Benimaclet (Valencia)

Project / Text: Arturo Sanz, Fran López López
Photo: María Mira

In the second half of the 20th century, Benimaclet, an orchard town, was assimilated by the city of Valencia. Single family houses and small-scale apartyment buildings coex¬ist in the urban fabric. Claudia House is an example of such an urban element: a three storey building constituted by six separate dwellings connected through the ground floor to two separate two-storey buildings located in the back of the lot. Our intervention consists in restoring one of the buildings belonging to a ground floor dwelling. (…)

L House
Citrus Studio

Text: Lorena Brează
Photo: Citrus Studio

An L shaped house with hidden pockets and green perspectives—extroverted, transparent, it opens itself to nature: from the courtyard, an exhibition of spaces, solid and void among which one may feel like hiding; from the street an elegant object, quite different from its built context, whose effervescence often generates a stop, inviting people to interact with it (neighbors told us). The L House is the result of a 4 year communication process between the architect and the client, one that many constructions in Romania could benefit from. I talked to Claudia, the architect who designed its story. This house represents for her a sparkling beginning as an independent architect, an opportunity to give her best, but also a great process to learn from. (…)

Once Upon a Time in Cotroceni
Zeppelin Design

Text: Constantin Goagea
/Photo: Andrei Mărgulescu

An in-Museum Exhibition about the Museum

For over nearly three and a half centuries, the Cotroceni complex has evolved from a royal monastery to a prince’s residence, to a royal palace, to a Pioneers’ pal¬ace during the Socialist period, it was overhauled to become one of the Ceaușescus’ dwellings, and it became, after the Romanian Revolution, the headquarters of the Presidential Administration.
This permanent little exhibition showcases the Cotroceni complex as a witness to these eras, to the inter¬action between architectural styles, between the influences, models and relationships emerging between power and culture, and to the transformations that this remarkable monument has undergone over the last three centuries. (…)

ASTRA VR
Zeppelin Design: Making the Most Out of Traditional Heritage through Multimedia Technologies

Text: Constantin Goagea
Photo: Silviu Popa

ASTRA VR is a museum project which uses VR technology, sound installations, and cartoons to make traditional culture heritage much more accessible. ASTRA Museum of Traditional Folk Civilization undertook to innovate its means of expression and to come closer to a new generation of visitors.
All these contemporary means were thrown in to evoke early 20th-century village life around Sibiu. (…)

Places to Sit in Huet Square, Sibiu
Mânadelucru

Text: Dorin Ştefan Adam
Photo: Laurian Ghiniţoiu

The furniture built for the Huet Square is reversible and relocatable, yet arising out of the specific and knowledge conditions of the specific context. The reason of the project was that of shaping places and of bringing people to the historic square in the medieval core of Sibiu. It creates places for locals and for vis¬itors and allows for temporary buses, such as a farmers’ market. (…)

Beirut after explosion
VICEVERSA

VICEVERSA Association was founded by Laurian Ghiniţoiu, Dorin Ştefan Adam, Ioan Şoldănescu. The first event of the organisation is the photo-exibition & installation Beirut after explosion, hosted by the Palace of the Parliament – Bucharest, Romania, 4th november – 9th december 2021,

PLANS