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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)

Text: Mugur Grosu

One morning, in a hotel room in the Transylvanian city of Arad, I woke up with hammering headache and two extra bodies in my bed, naked and reeking of beer. And the first thing that came to my mind was the question: What is a pink hippopomingo?

Text: Iuliana Dumitru

These days there are two years since I first set foot in the space of tranzit.ro/București. I got there on a drizzling rain, not knowing much about the place, although it had been in the city for over three years. Once past the gate with many locks, I realized right away that everything I knew about a conventional art space was not applicable in that case. What do you mean, organizing exhibitions and growing vegetables in the same place?

A couple of years ago, Klara Veer was in a charge of a small project, yet one with several dozen clients: a community kitchen for the members of a federation of artists and other cultural actors housed by a former factory. This projet is even tinier. The memory of the building, a sitting device and a messenger from the art inside define together a threshold.