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The architects’ deliberate lyricism-devoid text (below) is missing any reference to aesthetics or “philosophy”. However, when I visited the (yet unfinished, at the time) museum with Miguel Roldán, I felt it as a poetry-filled project, even yielding a slight dream-like character: the light turns almost material, the same bright colour is layered over new and old elements, to which we may add the delicate articulations and curved gaps cut in the old walls, and even the repetition and obsessive overlapping of vertical metal items.

The former Technical School of Aviation from the outskirts of the town of Mediaș, at the exit towards Sighișoara, was about to be degraded into disappearance. However, lately, it has been changing functions, some buildings are disappearing, others are rehabilitated, new buildings pop up. A social program – protected workshops for vulnerable people – has found a place in the former mess hall. ADP’s project is an example of reinventing a construction, but also of re-densifying the town’s outskirts, of building a public pole as well as an argument in favour of limiting the uncontrolled expansion of the town.

Intro: Modern by sound omission. The virtue of abstinence

Text: Cosmin O. Gălățianu

We make a note on the work seen from outside: it is clear that retrospection to the work, to the working, has a modernity of itself. In other words, the way the work is regarded, for instance the work of architecture, legitimises or not its modernity. Such a regard, a recent one, we may say, has twisted towards a type of architecture that is convenient (and here we mainly refer to the architects) by its implacable righteousness.

How does one build nowadays, in a central, tethered and characteristic historical fabric, a new public building? The FKM project of Oradea started precisely from this question, and by modelling the morphology against the city’s neighbouring spaces was the first step.

Project: Atelier FKM
Text, Photo: Andrei Mărgulescu

Intro: Captive autonomy
Text: Cosmin O. Gălățianu

The city, but mostly the European city, keeps its body under surveillance. It fears to have its healthy components excised, it feels the ghosts of the amputated ones, and it treats its dysfunction with cautious motions – very much like someone with a heart disease takes care of their body.

Text: Cosmina Goagea
Photo: Joachim Engelstad

A large city is faster than people, and architecture projects are slower than technology. Obviously, current economy gives rise to a great social injustice. All kinds of emergencies condense time so that crisis becomes the norm, the world is increasingly more busy and hotter day after day. A generation of people who are not working for a remote future, but for one that is already here, who are trying to change, on the fly, the way of city-living, the paradigm and the democracy.

Project & text: Anca Mihaela Constantin, Ionuț Constantin
Photo: Marius Vasile

Let us tell you a little about the project and execution. And about the adventure of things recovered.

Split-levels, one and a hald level rooms, many and complex space; a lot of light, a stark facade that extrudes the section ; dwelling is rich not just in square meters but also in space quality: the last block-of-flats finished by ADN BA connects to the city’s dwelling culture, but is also one of the most innovative dwelling projects in Romania.

Text: Paolo Zermani
Foto: Stephane Giraudeau

Fifty years away from the Second Vatican Council and its request to build a new Church, it is best to remember the shots where, in 1950, Roberto Rossellini chooses to place the happenings in his movie, “Francesco giullare di Dio”, on the street climbing up towards Sovana, in front of the church, in one of the most important scenes of his movie dedicated to St. Francis.

Intro: TONY FRETTON. “Familiar” Modernism
Text: Alexandru Cristian Beșliu

If we consider, from a historical perspective, the current state of affairs of architecture, at least taking into account the concatenation on “-isms” that is so specific to architecture historiography, we could still refer to it as “post-modernism”; of course, this assumption is only valid if we refer to postmodernity as a moment subsequent to the hyper-consecrated phenomenon that was The Modernist Movement, and certainly not by way of any fidelity to a “venturian” aesthetic which has consecrated this name to the field of architecture.

The project had to respond to an artist’s needs and visions on a harmonious bonding between the inspiration and musical creation space, and the one for living. A studio-home emerged, imaged by the artist, together with the architects. as very simple in form and architectural expression.

An interview with Vlad Bina, arhitect and digital set designer

In 2004, Vlad Bina took part in and won a prize at the Bucharest Architecture Biennial. He had alrready worked on digital set design for famous movies, such as the Matrix sequels/. We interviewed him then, not knowing that it would take another 14 years for a new article, in a very different (also movie) world. Hey, but Matrix may be a classic, but it aged better than movies even 10 years younger. We hope that the next interview will happen sooner than 2032, and for the matter, that we won’t be then in the reality first imagined in 1999. (Z)