3_interviu.pdf

7/25/2019 3_interviu.pdf

1/16DE VORB~ CU ADRIAN SPIRESCU20

ADRIAN SPIRESCU PAgINI DE ARhItECtUR~

Adrian Spirescu este nu numai arhitectul care a realizat cl`diri [i

proiecte valoroase, care atrag privirea Muzeul Na]ional de Art`

Contemporan` (MNAC), Casa C`lin, Imobilul de birouri Crystal Tower,

Centrul de Conferin]e din Neptun, ca s` amintim doar cteva, ci [i

profesorul care a propus noi atitudini ce combat opiniile obi[nuite

despre cum se pred` arhitectura, chiar din perioada de studii, din

[coala de arhitectur`.

Men]ion`m trei exemple de astfel de atitudini: arhitectura este o

mbinare de lucru n echip`, dar ea este crea]ia de autor (nu de rm`);

o nou` manier` de studiu [i de n]elegere a arhitecturii prin cteva idei

de nv`]are prin experiment, ascultare activ` sau asumarea atitudinii

critice privind propriul mod de a preda arhitectura; schi]a sau crochiul

de proiect este o parte important` a unei lucr`ri.

Urm`torul text este un soi de inventar al ideilor care l-au c`l`uzit pe

Adrian Spirescu de-a lungul anilor, unele nc` necunoscute publicului

larg, care poate vor spori n]elegerea arhitecturii proiectate de acesta.Gndurile au fost articulate n timpul unor discu]ii purtate n Bucure[ti,

n toamna anului 2013, cu arhitectul Cristian Br`c`cescu.

Adrian Spirescu is not only the architect who designed many

eye-catching and valuable buildings and projects The National

Museum of Contemporary Art (MNAC), the C`lin House, the Crystal

Tower ofce building, the Conference Centre of the town of Neptun, t

name just a few but also the professor who proposed new attitudes

to combat the traditional ideas regarding the teaching of architecture

starting from the days when he himself was a student.

We would like to mention here a few of his ideas: architecture is

teamwork, but a project itself is the creation of one author (and not

a studio); a new way of studying and understanding architecture

through experiment, active listening or analytical attitudine; the

architecture sketch or croquis is an important part of any project.

The following text is a sort of inventory of the ideas that have guided

Adrian Spirescu over the years, some still unknown to the general

public, and that will perhaps help in understanding the architecture

he practices. These thoughts were expressed during severalconversations between Adrian Spirescu and his fellow architect

Cristian Br`c`cescu in the autumn of the year 2013, in Bucharest.

De vorb~ cu ADriAn SpireScuconverSAtionS with ADriAn SpireScu

Dsl s sm d l [ d gd alal sa ]` d xma da a asl?Dup` cum enun]a Ingres, desenul r`mne, cu legile sale riguroase[i disciplina lui nenduplecat`, ca o leg`tur` ntre obiectiv [i subiectiv,

ntre impresie [i realitate. Aceast` constatare l-a ndrept`]it pemarele desenator s` arme c` desenul e probitatea artei.Pe noi, arhitec]ii, ne intereseaz` lumina, formele [i culorile dinmediul natural [i construit, care creeaz` acea stare de armonie [i deintui]ie fertil` de care avem nevoie. Odat` asimilate, aceste elementeac]ioneaz` asupra memoriei noastre artistice [i ne mbog`]esczestrea cultural`.

n fa]a unor teme impuse sau iscate din contactul hazardului curealitatea, acestea suscit` la rndul lor alte elemente, ce depind numaide acea lume a memoriei pe care prezentul o poate ntuneca sau

mbog`]i, dar niciodat` [terge. Orict de subiectiv ar un desen,orict de fugar` ar o nota]iune, orict de schematic` ar o schi]`, ea

nu este valabil` dac` nu se simte n ea, m`car indirect, o leg`tur` curigoarea descriptiv` [i analitic` a desenului obiectiv, adic` a desenuluicuno[tin]`. Un desen, ca s` ajung` a o valoare, trebuie s`-[ig`seasc` echilibrul ntre desenul cuno[tin]` [i desenul impresie.Desenul cuno[tin]` are drept ]int` s` ajung` la o valoare [tiin]ic`,desenul impresie urm`re[te exprimarea sentimentului produs deobiect [i nu reprezentarea obiectelor. n orice caz, desenul impresieare tendin]a a se pierde n neant, dac` nu are un punct de plecare ndomeniul cuno[tin]ei. C`ci ceea ce crede [i simte desenatorul nu poate exprimat dect atuncea cnd sunt raticate de cuno[tin]`, adic`de interven]ia spiritului critic al discrimin`rii [i al analizei. De aceea,desenul este inteligen]`, a enun]at cu insisten]` G.M. Cantacuzino.

is a dag a l f as ad s a sma as ss f slf-xss?As Ingres said, ...drawing, with its rigorous laws and inexorablediscipline, remains a sort of connection between objective and

subjective, between impression and reality. This observation allowethis great artist to declare that drawing is the probity of art.We architects are interested in the light, shapes and coloursencountered in natural and built environments, and the way they comtogether to create the state of harmony and fertile intuition that weneed. Once assimilated, these elements act upon our artistic memoryand enrich our cultural heritage.Before a given theme, be it imposed or simply generated by the contacbetween hazard and reality, these aspects, in their turn, generate otheelements that depend only on the world of memory, which may bedarkened or enriched by the present, but never erased. ...No matterhow subjective a drawing is, no matter how eeting a note is, no matt

how schematic a sketch is, their value lies in the connection, howeverindirect, to the descriptive and analytical rigor of objective drawing,which is the type of drawing most related to knowledge. In order to bevaluable, a drawing must nd the right balance between knowledgeand impression. The knowledge drawing aims for scientic value,while the impression drawing aims to express the feeling induced bthe object, not to represent the object itself. Anyway, the impressiondrawing tends to become lost into nothingness when it is not rmlyanchored in knowledge. This is because what the artist believes andfeels cannot be properly expressed unless it is sustained by knowledgby the critical spirit of discrimination and analysis. Therefore, drawingis intelligence, as G.M. Cantacuzino sustained.


2/16CONVERSAtIONS wIth ADRIAN SPIRESC

ADRIAN SPIRESCU ARChItECtURE PAg




Referitor la desen, Michelangelo folosea un cuvnt: dipendenza.Aceast` corelare a p`r]ilor, existent` n alc`tuirea corpului umano ntlnim [i n alc`tuirea unei case: o arhitectur` armonioas` estecapabil` s` se exprime att la nivelul detaliului, al interac]iunilordintre p`r]i [i ntreg, ct [i n ansamblul ei, ntre ea ns`[i [i context.Arhitectul lvaro Siza m`rturisea n 1992: Trebuie s` avem grij` s`aducem desenului pacea [i senin`tatea intim` de care are nevoieorice lucru neterminat [i instabil. Pentru c` numai aceast` fragilitate adesenului l poate face s` se transforme. {i ca s` nu se desfac` [is`-[i piard` integritatea a sa [i a ceea ce l nconjoar` desenul

inund` subit tot spa]iul, pentru a rec`dea imediat n anonimat. Eleste un mod de a te apropia ncet de obiectivele complexe [i decircumstan]ele care cuprind ecare demers.{i mai este ceva foarte important. Desenul, aceast` [tiin]` com-binat` cu talent, ne poate conferi nou`, arhitec]ilor, o distan]arevaloric` a breslei pe scara social`. Ne situeaz` undeva deasupracelorlalte persoane, eventual viitori beneciari cu pozi]ii nanciaresau sociale importante. Cineva care [tie s` deseneze c[tig` multmai u[or respectul [i simpatia celor din jur. n copil`rie l nso]eamadesea pe tat`l meu, pictor [i desenator, purtndu-i [evaletul, cutiacu pensule [i culori, precum [i cartoanele-suport pentru desen [ipicturi, cnd lucra n mijlocul naturii. n acea perioad`, arti[tii lucrau

frecvent n afara atelierului, conform preceptelorplein-air-ismului. Peparcursul [edin]elor de lucru, care durau ntre 6 [i 8 ore, cei care seaau n trecere pe acolo se opreau, se uitau cu admira]ie [i curiozitatela ce lucra, desena sau colora tat`l meu [i comentau n [oapt`.Comportamentul [i atitudinea lor ilustrau respectul pentru cineva

nzestrat cu talent.Mult mai trziu, cnd mi-am amintit ceea ce sim]eam v`zndu-l petat`l meu la lucru, am ajuns la concluzia c` arhitec]ii ar trebui s`cultive constant exprimarea prin desen, ca o condi]ie esen]ial` aprimenirii spiritului lor creator. Din p`cate, acest lucru este din ce nce mai greu de dus la ndeplinire n zilele noastre, n condi]iile n caredesenul computerizat a nceput s` prevaleze.

When speaking of drawing, Michelangelo used a particular term:dipendenza. This correlation of parts, found in the human body,but also in the construction of a house: a harmonious architecture isexpressive in its details, in the interaction between the parts and thewhole, as well as in its ensemble, through the interaction betweenitself and its context.In 1992, architect Alvaro Siza said that: We need to rememberto put into a drawing the care and intimate serenity specic ofevery unnished and unstable thing, because a drawings fragilityis its only quality that allows it to transform. And in order not to

come apart and lose its integrity that is, its own and that of itssurroundings a drawing suddenly oods the entire space onlyto immediately fall back into anonymity. It represents a way ofslowly approaching... complex objectives and the c ircumstancesof each project.And there is one other major aspect. Drawing, this combinationof science and talent, can offer a privileged status. It places ussomewhere above other people, even if those people are future clientof an important nancial and social status. A person who can drawis better liked and respected by those around him/her. When I was achild, I would often accompany my artist father, and when he workedoutdoors, I would carry his easel, brushes and colours, as well as the

cardboard he was painting and drawing on. Back then, artists wouldoften work outside the studio, according to the precepts of plein-airart. During his work sessions, which lasted between 6 and 8 hours,passers-by would stop and gaze curiously and admiringly at what myfather was drawing or painting and whispering to each other. Theirbehaviour and attitude were illustrative of the respect for a personwith a genuine talent.Much later, when I remembered the way I felt watching my fatherworking, I reached the conclusion that architects should constantly usdrawing as a means of expression, as an essential condition for thematuration of their creative spirit. Unfortunately, this is very hard toachieve nowadays, when computerized drawing is prevalent.

Furtuna, 2006. Desen de impresie. Acuarel`, creion colorat, ceracolor. / The Storm,2006. Impression drawing. Watercolour, coloured pencils, wax colouring sticks.

Crochiu de c`l`torie Muzeul de Art` din Bregenz, Austria, arh. Peter Zumthor.Accesul n muzeu [i cl`direa neagr`. Desen pe hrtie de ziar cu permanent marker[i creion./ Travel sketch The Art Museum of Bregenz, Austria, architect PeterZumthor. The main entrance to the museum and the black building. Permanentmarker and pencil on newsprint.




Desene de studiu compozi]ie pentru un centru de sport [i cazare n Bucure[ti, 2013Tehnic` mixt`: colaj, gua[` pe panouri de carton, creion colorat, tu[. / Study drawings composition for a sports and lodging centre in Bucharest, 2013. Mixed drawing media:collage, gouache on cardboard, coloured pencils, India ink.

Culorile teroase, cu nuan]e ce apar]in naturii primare, denot` ncerc`rile de expresielegate de rela]ia om-natur`-loc./ The earthy colours, with tones reminiscent of a primalnature, testify to the expression attempts related to the relationship between man,nature and place.

c d ` s]l d m` sa mal la d a`?

n excursiile de studiu f`cute cu studen]ii UAUIM n diverse locuriprecum Paris, Barcelona, Elve]ia, Portugalia, nordul Italiei etc., amvizitat [i birouri de arhitectur` renumite. Printre lucrurile constatatea fost [i faptul c` machetele de studiu, al`turi de crochiul de idee, deconcep]ie, sunt o preocupare important`. Astfel, n biroul arhitec]ilorlvaro Siza sau Aires Mateus se promoveaz` cu st`ruin]` studiul pemachete, machete construite din lemn, hrtie (carton), ipsos etc.A[ extinde ideea [i asupra desenului de mn` n general. Eu continui

s` cred c` forma de analiz` [i n]elegere a spa]iilor arhitecturale ncontextul nuan]at al locului prin z`bovirea n dialog cu spa]iul, cucaietul de desen n mn`, este excep]ional`, deoarece ne poate aduce

n situa]ia de a redeni statutul obiectului de arhitectur`: l leag`de loc, de via]a locului. Devine purt`tor de sensuri [i de simboluri.Obiectul de arhitectur` este reechilibrat [i astfel modernitateatimpului trecut devine prezent`, iar totul se reduce la esen]a actuluiarhitectural. Pe de alt` parte, noi, cei cu caietul de desen n mn`,martorii celor de mai sus, ne redenim ecare ca scormonitor alideilor [i, de ce nu, ca [lefuitor al lor.

tasl d laa a d a` maz`

algm sal, a ``]l, f]l, sa,mz]a lml [ a fa]adl s da lg [a gs sa m`[ sz`]l da d s?Discursul cultural-profesional privitor la crea]ia arhitectural` estepredominant axat pe teme legate de identitate, timp, social, sensuridate lucrurilor [i faptelor, dar [i pe analiza binomului opozi]iilorbine-r`u, prieten-du[man, natural-construit (articial), clar-neclaretc. Cred c`, de fapt, impasul n care se a` arhitectura romneasc`se datoreaz` [i faptului c` tinerii arhitec]i nu ]in cont de acestelucruri, se rezum` doar la o parte de estetic` fugitiv`, o arhitectur`f`cut` repede, n care sunt domina]i de dictatura tehnologicului, ananciarului [i de un fel de autoritate rudimentar` a beneciarului.

h ll d adal dags ad mdls a a j?During the study trips with my students at the UAUIM (Ion MincuUniversity of Architecture and Urbanism) through places such asParis, Barcelona, Switzerland, Northern Italy, etc., we also visiteda few renowned architecture studios. Among the things we noticedthere was the fact that models and concept drawings are a majorconcern for these studios. Thus, architects like Alvaro Siza or AiresMateus insist on the building of models, be they made of wood, pape(cardboard), plaster, etc.

I would say that the same is true about traditional drawing. I stillbelieve that it is vital to try to analyse and understand an architecturaobject, in its many-faceted context, with a sketchbook in hand,because drawing can help in redening the status of the architecturaobject. Drawing connects the object to the place and to the life ofthe place and the object thus becomes rich in meanings and symbolsThe architectural object is thus given a new sense of balance andthe modernity of the past is updated, and everything comes downto the essence of the architectural act. On the other hand, we, theones holding the sketchbook and witnessing other architects at work,redene ourselves as researchers, as people who dig up ideas and,why not, reshape them.

Ds aal dsg ss fll a-salsd algm, s, fs,s, ad ms f lms ad faads add lgally ad aally a gsay, ds fll ss ad s f m?The cultural and professional discourse on architectural creationis predominantly based on themes related to identity, time, socialissues and meanings bestowed upon things and facts, but also on theanalysis of several binomials good-evil, friend-enemy, natural-built(articial), clear-unclear, etc. I believe that, in reality, the apparentdead-end situation of Romanian architecture is partly due to the




Dac` r`mi la nivelul supercial de cosmetic`, de culoare, atuncibeneciarul reu[e[te s` te conduc` spre punctul lui de vedere, careevident c` nu este un punct de vedere autorizat.Personal, m` duc [i analizez, fac poze evident, pentru c` e maiu[or a[a. {i dup` aceea r`mn acolo, mai fac un desen. Desenulpresupune n general s` stai mai mult la fa]a locului, a sitului [iatunci energiile despre care vorbeau arhitec]ii Herzog [i de Meuronse transmit. Desenezi, schimbi o vorb` cu cineva [i ncerci s` vezicare e suferin]a locului, care e problema lui. De exemplu, la muzeu(MNAC), cl`direa era ntr-o suferin]` extraordinar`, era un depozit demateriale de construc]ii, r`m`sese doar coaja. n interior erau ziduriduse pn` la diverse n`l]imi. Mi se p`rea c`, dac` ascult cu aten]ie,a[ auzit-o cum geme. {i atunci am gndit muzeul ca pe o vindecarea locului respectiv. Injectarea de func]iune nou` a nsemnat aducerea

n contemporaneitate, p`strnd straticarea vizibil`. Petele de igrasiele-am l`sat [i se v`d, sunt foarte picturale, dar nu picturalitatealor voiam s` o ar`t, pe mine m` interesa s` se vad` ecare etap`,straturile succesive ale existen]ei ei. Istoria, existen]a unei cl`diri mise pare interesant` n arhitectur` [i nu arhitectura de cosmetic`, deoptimism a rela]iei cu beneciarul.

om a la-, a a` sa a a], aa aga, ` s fasa`. D[ s ms famlx`, a` xg` [ a] dsl d a`. m`s` da]a fsal`, [ala d a` a` s ma d aaa dmaas` [ m aa` aas` a?Lucrez foarte mult [i m` axez pe eforturile celorlal]i care se ocup`cu formarea, educarea critic`, dar [i cu metodele de ndrumare alestuden]ilor arhitec]i. Acest lucru este important [i pentru arhitecturamea. Admir capacitatea mental` n toate tipurile de activit`]i [i latoate categoriile de oameni. Pot arma de asemenea c`, uneori, m`simt neputincios, ca un om cu minile legate la spate [i atunci apelez

la studiu. M` autoeduc permanent, apelnd la forma de studiu non-referen]ial`. M` ntreb deseori dac` educa]ia mea nu m` mpiedic` s`u capabil s` gndesc n acest sens.Nu este clar de ce m` str`duiesc s` lucrez non-referen]ial. Aceastanu este ceva cu care m-am n`scut sau am crescut. Probabil faptul c`pentru o perioad` m-am format la Liceul de Arte Plastice N. Tonitzaa generat un impuls pentru non-referen]ial. M-a f`cut s` u con[tientde ruptura cultural`. A fost o lume a ambiguit`]ilor [i f`r` ea nu a[ ajuns s` u aici. Mai mult dect att, am depistat o vedere dinexterior c`tre mine ce p`rea a promova necesitatea de a continuatradi]iile. Dar am nv`]at c` tradi]iile nu sunt totul.Nu cred c` este posibil s` cre[ti mai mpresurat de tradi]ie dect am

crescut eu. Am avut un tat` care a fost artist plastic: pictor, gracian[i sculptor. El a colec]ionat multe obiecte, cum ar mobil` veche,tablouri, dar [i ferestre din cl`diri care au fost demolate. A acumulataceste obiecte n timp. Mi-a fost a[adar aproape cineva care apre]uit pur [i simplu aceste artefacte, pe care le-a conservat pentru anu se distruge cu totul acea lume veche. Tat`l meu a vrut s` men]in` uncontact strns cu valorile acelei societ`]i [i a f`cut-o cu o consecven]`de necrezut. Nu m` refer la cotidian [i la ritualul vie]ii de zi cu zi, nici laconservatorismul politic sau social, pentru c` tat`l meu a fost destul deanarhist n gndire [i detesta valorile conservatoare, ci mai degrab` la oideologie de conservare a mplinirilor culturale. Acest lucru s-a transmis[i n felul meu de a concepe arhitectura. Arhitectura con]ine, de ase-

fact that young architects do not take these things into account andinstead content themselves with the fugitive aesthetics of a fastarchitecture where they nd themselves under the dictatorship oftechnology and money and the rudimentary authority of the client. Ifan architect never goes beyond the supercial level of cosmetics andcolour, then the client can easily impose his point of view, which isobviously not an authorised point of view.I, for one, always visit and analyse the site, and I obviously takepictures as well, because its easier this way. And then I linger onand perhaps draw a new sketch. Drawing generally implies spendinga lot of time on site, which allows for the circulation of the energiesmentioned by Herzog and de Meuron. On site, you can draw and talkto people, and this makes it easier for you to see what the problemsof the place are. For instance, when I was working on the museum(MNAC), the building itself was suffering terribly. It had been reducedto a depot for construction materials, a mere shell. Inside, there werejust unnished walls of uneven heights. It seemed to me that if Iwere to listen carefully, I would hear the building moaning. And so Idesigned the museum in an attempt to heal the place. The insertionof a new function brought the building into the present day, withouterasing the historical layers. I even kept the damp stains and they are

visible and very pictorial. However, I wasnt interested in exhibitingtheir pictoriality, but in revealing each stage, each successive layer inthe buildings history. To me, a buildings life and history is the mostinteresting aspect of architecture, unlike the cosmetic aspect thatcaters to the clients wishes.

w y sd a a fm a a, ads lk s dfl as s y fasag,ds fa a s a y mlx ld, a dmadga fm ad a a a. wa l ds agf a lay y lf ad a mad y msd ag a?

I work a lot and I rely on the efforts of people who dedicatethemselves exclusively to the formation, critical education and guidinof young architects. This is a very important to the type of architecturI practice. I admire mental prowess in all types of activities and alltypes of people. I can also say that I sometimes feel powerless, asif my hands were tied behind my back, and it is then that I turn tostudy. I am self-taught and constantly educate myself by resorting toa non-referential study method. I often ask myself whether the type oeducation I received is keeping me from being capable of thinking inthis way.I couldnt explain clearly why I strive to work in a non-referentialmanner. This is not something I was born or raised with. Perhaps

my time as a student of the Nicolae Tonitza Fine Arts Schoolhas generated some sort of instinctual leaning towards the non-referential. It made me become aware of the cultural rupture. Theschool was a world of ambiguity and I wouldnt be here without it.Moreover, I detected a view from the outside towards myself thatseemed to promote the need to carry tradition forward. But I havelearned that tradition is not everything.I dont believe its possible to grow up more immersed in traditionthan I was. I had an artist father. He was a painter, a graphician and asculptor. He collected many old objects, such as furniture pieces andpaintings, but also windows from demolished buildings. He collectedthese items for a long time. Therefore, I grew up close to someone




menea, [i acea calitate de ruptur` care este uneori atribuit` forma]ieimele. Trecutul meu a fost marcat de contradic]ii [i am crescut printreaceste contradic]ii. Acum simt nevoia de a le anihila [i de a cre[tedincolo de tradi]ii, dar parc` nu reu[esc s` las totul n urm`.Toate cele expuse mai sus au ca scop n]elegerea educa]ieiprofesionale nu numai sub aspectul acumul`rii de date, ci [i a faptuluic` n via]`, conform celor armate de arh. Alexandros M. Tombazis

n Scrisoare c`tre un tnar arhitect: trebuie s` te compor]i precumgirafa. Fii cu picioarele npte bine n p`mnt, cu capul, mintea [iviziunea la n`l]ime, n aer, iar inima s`-]i e undeva ntre ele. Veiavea nevoie de aceste trei precepte pe tot parcursul vie]ii.

v` f] adsa la l`d , a d ] dsa` sa d dsa]. pz]a mmls d` [ l`l za a; amaj`sa sa` m bfl d la {sa, sdl b`na]al d la clj [ d la caa, l`dl mlxlala d oa Sl s a d asa. D l`dl s a d ma dmaas`?Dac` trebuie s` te dene[ti ca arhitect pentru c` nu este posibil s`func]ionezi f`r` referin]e atunci este mai bine s` te orientezi spreceva care este ndep`rtat de tine n timp. Cnd m` uit la aceste cl`dirivechi din perspectiva mea, atunci acestea sunt eliberate de scopul

programat pentru care au fost construite.Tr`im nconjura]i de urme [i semne, ele ne men]in iluziacontinuit`]ii, devenirii noastre. Ele articuleaz` leg`tura profundorganic` cu substan]a lucrurilor. Surprindem urma ca pe o curiozitatea lumii, ca un obiect g`sit care fascineaz` prin distan]a fa]` deun substrat semantic irecuperabil. Ea este o pelicul`, o epiderm`desprins` de nucleul generator [i evoc` trecutul prin prezen]a sa.Acest lucru este, probabil, a[a de evident pentru c` mi place s` fac oarhitectur` care s` e nou`. Pentru c` vreau s` construiesc ceva inedit[i nu este posibil pentru mine s` m` orientez imediat. De asemenea,trebuie s` spun c` nu am optat s` abordez att de multe cl`diri vechi

n mod con[tient.

who cherished these objects and preserved them to keep the old worlfrom being fully destroyed. My father wished to maintain a closecontact with the values of that past society and he did so with theutmost consistency. I am not referring to the rituals of everyday life,or to political and social conservatism, because my father was moreof an anarchist who hated conservative values, but to an ideology ofpreserving cultural achievement. This ideology is also present in myway of approaching architecture. Architecture also contains that qualiof rupture that is sometimes attributed to my formation. My past wasmarked by contradictions and I grew up among these contradictions.Now I feel the need to annihilate them and to grow beyond tradition,

but I cant seem to be able to leave everything behind.Everything Ive said above is to help understand professionaleducation not just as data accumulation, but also in the light of thefact that, in life, as architect Alexandros M. Tombazis stated in hisLetter to a young architect, You must be like a giraffe. Keep yourfeet rmly planted on the ground and your head, mind and vision highin the air. Your heart has to be somewhere in between. You will needto abide by these three precepts your entire life.

Y f m ld ldgs y sak fa y da. t s f mmss als d ks fad s k, sally

dsgs ad sas, s as bfl d la {sa(t Sdalk bff), ags f naal bak clj ad caa, ldgs f alay oaSl. wy a ld ldgs s ma y?If one must dene oneself as an architect because its impossibleto function without any references then it is better to orient oneselftowards something that is distant in time. When I consider these oldbuildings from my own point of view, then they become free of thepurpose they were originally built for.We live our lives surrounded by traces and marks and they maintainthe illusion of our continuity and becoming. They articulate theprofoundly organic connection to the essence of things. We intercept

Cl`direa B`ncii Na]ionale din Cluj. Cu un amplasament central, Pia]a istoric` aduce cusine sentimentul unei demnit`]i atemporale. Designul interiorului folose[te spa]iile ampexistente la parter, dar personalizeaz` [i organizarea pe mai multe niveluri n jurul uneicur]i interioare./ The National Bank of Cluj. Due to its central location, in the main citysquare the building conveys a feeling of timeless stateliness. The interior design makesgood use of the generous interiors on the ground oor and individualizes the multi-levellayout around the interior courtyard.

Banca Na]ional` din Craiova func]ioneaz` n coaja existent` a cl`dirii. Proiectul derestaurare [i modernizare stabile[te un nou mod de citire a straturilor istorice ale cl`dirii[i adaug` cteva elemente noi./ The National Bank of Craiova functions inside theexisting shell of the building. The restoration and modernization project generates anew way of perceiving the historical layers of the building and adds a few new elements.




Ele sunt, iar`[i, eliberate de circumstan]ele sociale care le-aucondi]ionat s` e construite n felul n care au fost. Exist` dou`aspecte ale acestei idei: n primul rnd, am c[tigat o distan]` fa]`de condi]iile specice n care aceste cl`diri au fost construite [i, n aldoilea rnd, am tendin]a s` m` uit ca un istoric la aceste cl`diri vechi,

n sensul c` eu nu urmez anumite modele contemporane prescriseasupra modului n care ar trebui s` e ele citite [i n]elese. M` uitla principiile de ordonare a cl`dirilor [i nu o fac prin semnica]ia lorlozoc`, religioas` sau social`. Aceste cl`diri vechi sunt pentru mineexclusiv arhitectur`, deoarece eu le desprind din timp, din context, [i

exist` doar ca obiecte de arhitectur`, f`r` nicio suprafa]` deproiec]ie pentru extra-arhitectur`. Arhitectur` pur`! Acesta esteavantajul cl`dirilor vechi: r`gazul care se a` ntre momentul n careacestea au fost construite [i ziua de azi scutur` toate acele aspecte alecl`dirilor care sunt, strict vorbind, non-arhitectur`. Acest proces ar mult mai dicil de realizat cu o cl`dire din trecutul recent, pentru c` pur[i simplu [tim prea multe despre ea pentru a o putea distila exclusivc`tre arhitectur`.

pl d ag` s fa d `sld`. ca ds laa, am, `.

n a sa carte Scrisoare c`tre un tn`r arhitect, Alexandros M.

Tombazis spunea: Aminte[te-]i de asemenea c` Arhitectura nseamn`munc` n echip`. Pentru ca ideile tale s` se materializeze, vei depindede al]ii, precum un compozitor n interpretarea muzicii sale.

n copil`rie, asistam frecvent la discu]iile dintre arti[tii plastici [icriticii de art`. De-a lungul timpului, critici precum Ion Frunzeti,Petru Comarnescu, Amza Argintescu, Dan H`ulic` polemizau cuarti[tii vremii. Eram atras de acest schimb de idei teoretice care serostogoleau peste creatori, cei care constituiau subiecte alediscu]iei: pictori, gracieni, arti[ti decoratori, sculptori etc. Prin urmare,[i eu discut adesea unele aspecte legate de procesul proiect`rii cuaceia despre care cred c` ar putea inuen]a calitatea proiectului.Viziunea unitar` [i complex` a gndirii n arhitectur`, n care partenerii

a trace as a curiosity of the world, as a found item that fascinatethrough the distance to an irretrievable semantic subtext. The tracemakes up a sort of lm, an epidermis that has come undone from itsgenerating nucleus and evokes the past through its own presence.Perhaps the reason why this thing is so obvious to me is because Ilike to practice a new sort of architecture. Because I want to buildsomething new and I nd it impossible to locate an immediate pointof reference. Also, I should say that working on so many old buildingswas not a conscious choice.Once again, these buildings are freed from the social circumstances

that conditioned them to be built the way they were. There are twosides of this idea: rstly, we have gained distance from the specicconditions that led to the construction of these buildings and,secondly, I for one, tend to consider them the way a historian would,in the sense that I dont follow certain prescribed contemporarymodels regarding the way these buildings should be read andunderstood. I consider their ordering principles and I dont do it fromthe perspective of their philosophical, religious or social signicance.To me, these old buildings are just architecture, because I set themapart from their rime and their context and, to me, they exist merely aarchitecture objects, with no projection surface to what exists outsidarchitecture. Pure architecture! This is the advantage of old buildings

the respite between the time when they were built and our own timeclears away all of the aspects that are not related to architecture. Thprocess would be a lot more difcult to accomplish in the case of amore recent building because we simply know too much about it to bable to see only its architecture.

wd-sal js a ly l g sldamk. tll s a f ds a l ad amsad kg g.In his book, Letter to a young architect, Alexandros M. Tombazissaid: Also remember that Architecture means teamwork. In order foryour ideas to materialise, you will depend on others, like a composer




ingineri sunt accepta]i ca [i creatori (nu executan]i), conduce de fapt laacea cuprindere integral` a proiectului. Structura de rezisten]`, instala]iilede climatizare interioar`, iluminatul de concep]ie sau sistematizareavertical` sunt numai cteva dintre ipostazele lucrului n echip`.

{ala d A` m a ss cs cz fs `m l [ al fs. ca ssasfa]l [ a s mll fs a?A proiecta n [coala de arhitectur` nseamn` a-]i pune ntreb`ri,a te apropia, a nconjura [i a g`si propriul t`u r`spuns cu ajutorul

profesorului. De ecare dat` din nou, spunea profesorul [i arhitectulPeter Zumthor.Leg`tura indisolubil` ntre [coala de arhitectur` [i diversitatea/spontaneitatea activit`]ii de crea]ie a arhitecturii se reg`se[te, credeu, n nse[i caracterele denite ale arhitecturii. Cineva vorbea desprearhitectur` ca despre ni[te imagini eliptice, asemenea cu schemeleunei coregrai a universului. Conven]ia, reduc]ia abstractizant` adesenului tehnic de arhitectur` se nso]e[te ntotdeauna cu puterealucrului concret.

n primul rnd, facultatea m-a atras pentru c` exist` o lume ainforma]iei, a document`rii mult mai intens` dect ntr-un birou deproiectare. Acolo g`se[ti, n ceea ce prive[te mediul, mult mai multe

persoane deschise la dialog, la experimentare. Pe de alt` parte, miplace [i latura de pedagog, unde trebuie s` ai abilitatea s` n]elegiun tn`r, s` vezi care-i sunt p`r]ile slabe [i unde po]i s`-l aju]i. Iar celmai greu mi se pare s`-l faci s` n]eleag` arhitectura. De ce? pentruc` eu am n]eles foarte trziu o parte din lucruri. n facultate, n aniimai mari, am nceput s` n]eleg o parte din sensurile lucrurilor. Mise p`rea c` arhitectura const` n ni[te desene foarte plictisitoare,stupide, desene tehnice n care trebuia s` cotezi. ncerc, nc` din aniide formare, s`-i fac s` priveasc` arhitectura ca pe o pasiune [i nu cape o profesie ca oricare alta. Cnd reu[esc s`-i fac pe studen]i s` vad`

n ei pasiunea, mi se pare un lucru extraordinar, mi se pare c` fac cevala fel de trainic ca o cas`.

does for the interpretation of his music.As a child, I would often witness discussions between artists and artcritics. Over the years, critics such as Ion Frunzeti, Petru Comarnescu,Amza Argintescu or Dan Haulic` would debate with the artists of thetime. I was attracted to this exchange of theoretical ideas that wererolling over the creators, the ones who made up the discussion topicspainters, graphicians, decorative artists, sculptors, etc. Therefore, Ioften like to talk about certain aspects of the design process to peoplI believe to be able to inuence the quality of the project.The unitary and complex vision of architectural design, where

our engineer partners are accepted as fellow creators (not mereexecutors), actually leads to a holistic approach of the project. Thestructural frame, ventilation installations, concept lighting or verticalsystematization are just a few of the aspects of teamwork.

t A Sl as cs cz sfs mas a ad a ladmak f fsswa a ma ams ad ma lmas f aa fss?To design as an architecture student means to ask questions andto approach, surround and nd your own answer with the teachersguidance many times over, said architect and Professor Peter Zumtho

The indissoluble connection between the architecture school and thediversity/spontaneity of the architects creative act is found, I believe,in the xed aspects of architecture. Someone once said architecture ia series of elliptical ideas, like the scheme of a universal choreographThe convention and abstractive reduction found in technical drawing ialways connected to the force of the concrete object.First of all, I was attracted to teaching because a university is a worldof information and of a much more intense type of documentation thaone can nd in a design studio. It is an environment where you cannd many people who are open to dialogue and experiment. On theother hand, I also enjoy being the role of educator, where one must bable to understand a young person, to see their weak points and be




Cnd v`d o cas` terminat` am un sentiment foarte puternic demplinire. Un desen, o machet`, un concept, un crochiu s-autransformat ntr-un loc n care oamenii intr`, stau, se bucur`, sufer`,

[i duc via]a ntr-un spa]iu pe care l-ai gndit tu.E foarte interesant cum am ajuns s` ne form`m, s` m ceea cesuntem la un anumit moment. Cnd eram student [i i priveam peprofesorii mai n vrst`, mi era imposibil s`-mi imaginez c` ntr-o zivoi n locul vreunuia dintre ei. Care este rolul unui profesor? S`-i

ndrume, s`-i ajute pe tineri cu ceea ce ei au trìt [i au experimentatpe viu. Dar s` le asculte [i ntreb`rile de fapt. S` ncerce s`realizeze totul cu ei, ntr-o perfect` mbinare ntre inocen]a juvenil`(a studentului) [i experien]a n]eleapt` (a profesorului). Cultivareastudiului pasionat, intransigent, trebuie s` se armonizeze cu toleran]a,f`r` nicio urm` de concesie; [i, mai ales, este important ca profesoruls` r`mn` un perpetuu cùt`tor de adev`r.F`r` orgoliu, cu o cordialitate specic` pedagogiei, n anul 1990profesorul Mircea Ochinciuc m-a invitat s`-l ajut n calitate deasistent la una dintre grupele pe care le ndruma la acel moment. Afost momentul n care spusele arhitectului american Louis Kahn oconstruc]ie de mare valoare, dup` p`rerea mea, trebuie s` nceap` cuincomensurabilul, trebuie ca n cursul proiect`rii s` treac` prin stadiul

elementelor m`surabile [i s` revin` la sfr[it n incomensurabil auc`p`tat pentru mine valen]e educa]ionale.

nl s dms al` a m d a. pdmaas` a ma z, a aaad a d a`, [ a d fs. ca sà dmaas` ds a, ` as ss?De cnd predau, m` preocup` noul n activitatea de studiu astuden]ilor. M-au interesat ntotdeauna [i nout`]ile n materie deprogram de arhitectur`. Diversitatea programelor e de fapt elementulstimulativ. Am debutat n arhitectur` cu un premiu n 84 pentru oor`rie de pe Edgar Quinet [i mul]i ani dup` aceea, de[i proiectam

deja cl`diri de birouri, lumea vorbea despre mine ca despre Adriancel care a f`cut or`ria. Am proiectat birouri, hoteluri, am f`cutrestaur`ri, muzee, iar ce mi-am dorit foarte mult [i era gata-gata s`reu[esc la un moment dat a fost s` proiectez o nchisoare. E un lucrufoarte interesant la spa]iile de deten]ie. Ele trebuie s` ]in` nchi[ini[te oameni care au gre[it, unii mai mult, al]ii mai pu]in, unii dintreei sunt chiar nevinova]i, victime ale justi]iei, acest mic procent nu lcuno[ti, iar tu trebuie s` creezi un spa]iu pentu to]i.

n {coala de Arhitectur` ncerc s` creez ceva nou, situa]ii de studiucare s` i motiveze pe studen]i. Temele de studiu traseaz` un parcursal familiariz`rii viitorului arhitect cu faptul c` arhitectura intervineasupra unui dat: un loc, cu ceea ce este deja construit acolo sau

care a ap`rut n mod natural, cu folosin]e, activit`]i, nevoi, oameni,materiale etc., n sensul n]elegerii, purt`rii de grij` [i ntregiriiacestui dat. Premisa este aceea c` nv`]`mntul de arhitectur`trebuie s` permit` [i s` sus]in` formarea unei con[tiin]e critice[i etice privind mijloacele [i consecin]ele arhitecturii: arhitecturalucreaz` cu ceva dat, iar ceea ce conteaz` n primul rnd este bunaraportare la acest dat.Foarte important` devine atunci formarea capacit`]ii de a observa, avedea, a interpreta [i a traduce n proiect o serie ntreag` de indiciipuse n fa]a arhitectului n situa]iile concrete ntlnite.

ntorcndu-se c`tre lucrurile din jur, studentul-arhitect trebuie s`simt` c` i se vorbe[te pe limba lui, c` n]elege povestea pe care

able to help them. And, to me, the most difcult thing is to make themunderstand what architecture is. And that is because it took me a verlong time to understand certain things. When I was a student, duringmy nal University years, I began to understand part of the meaningsof things. I was under the impression that architecture was aboutmany boring, stupid technical drawings that one had to draw a certainumber of. Ever since I was a student, I have been trying to makeothers see architecture as a passion, not just a mere profession. WheI succeed in helping the students nd the passion that lies withinthem, I feel I have done an extraordinary thing, as solid as a house.When I see a completed house, I experience a strong feeling offullment. A drawing, a model, a concept or a croquis have turned inta space where people enter, spend time, are happy or in pain. Theylead their lives in a space that you have designed.Its very interesting to consider how we have become who we are at given moment. When I was a student, observing the older professorsit was impossible for me to imagine that one day I would be in theirplace. What is the role of a professor? To guide and help youngpeople by sharing what he himself has lived and experienced, butalso by listening to their questions and trying to work with them andachieve a perfect harmony between the innocence of youth (on the

students side) and the wisdom of experience (on the professors sideThe cultivation of passionate, intransigent study must be done withtolerance, with no trace of concession. And, most importantly, theprofessor must at all times remain a seeker of the truth.With no trace of vanity and with the cordiality of a true educator,Professor Mircea Ochinciuc invited me, in 1990, to be his assistant inteaching one of the student groups he was guiding at that particularmoment. It was then that I saw the educational potential of the wordof American architect Louis Kahn A valuable building must, in myopinion, begin with the immeasurable and, during the design processmust go through measurable stages and then, nally, return to theimmeasurable.

nly s a al dms f a as k.wa s y sa ly, as a a ad afss?Ever since I began teaching, I have been interested in the ways inwhich students carry out their studying. I was also always interestedin novelty architecture programs. The diversity of programs makes upthe stimulating element of the profession. My debut as a professionaarchitect was marked by the award I won in 84 for a ower shop onEdgar Quinet Street and, many years after that, although I had alreadbegan to design ofce building, people would still talk about me asAdrian, the guy who designed the ower shop. I designed ofce

buildings, hotels, and museums and was in charge of many restoratioprojects, though what I really wanted to do, and almost succeeded, aone point, was to design a prison. There is something very interestingabout detention spaces. They are supposed to contain people whohave done wrong, some more than others, and even some who may binnocent and mere victims of the justice system. You never know whapercentage of the total number is made up by the latter category, butyou have to create a space to hold all of them.As a Professor at the Architecture School, I try to bring somethingnew to the table by creating study situations that can motivate thestudents. The study themes trace a trajectory of the familiarization ofthe future architect with the fact that architecture is an intervention




acestea o au de spus. Implicarea personal` devine atunci o

condi]ie esen]ial`. Fiecare student aduce cu sine o experien]` devia]`, sensibilit`]i, preocup`ri [i abilit`]i diferite. Temele de studiu

i ofer` prilejul de a recuperara, valorica [i continua acesteexperien]e, dar [i oportunit`]i pentru dezvoltarea lor sau pentrudobndirea unor experien]e noi, specice meseriei de arhitect, cuajutorul [i prin intermediul ndrum`rii din atelier.

n cadrul noilor teme propuse [i a activit`]ii de atelier, alegereacon[tient`, problematizat` [i argumentat` a materialului, a locului, afolosin]ei este un instrument important de construire a unui demersadecvat ec`reia dintre problemele diferite care i sunt puse nfa]`. Tema d` un indiciu, furnizeaz` un pretext, ecare student [iconstruie[te, ntr-o m`sur` mai mare sau mai mic`, propria tem`,

asistat de ndrum`tori. Experien]a, specicul, priorit`]ile, metoda sautactul ec`rei echipe de ndrumare vin s` furnizeze reperele, bornele,ceea ce poate un teren ferm al nv`]`rii arhitecturii. n acest sens,se pot distinge cteva direc]ii [i problematici care se reg`sescpermanent, de[i n propor]ii diferite, n alc`tuirea temelor de studiu.Eu depun eforturi deosebite pentru a construi cl`diri care s` e pect posibil mai noi, mai inedite. Cel mai bun scenariu de caz ar ca ecare cl`dire conceput` s` e complet nou`, o inven]ie total`.Asta ar fantastic! Sunt, de asemenea, con[tient de faptul c` nureu[esc cu adev`rat s` concep ceva nou de ecare dat` din cauzadiferitelor obstacole care mi stau n cale, cum ar tradi]ia sau propriamea personalitate. Un exemplu este situa]ia n care, uneori, m`

ndr`gostesc de o idee arhitectural`, dar sunt incapabil s` realizezproiectul care con]ine aceast` idee, din diferite motive. Dac` nupot construi o idee nou`, ea [i face re-apari]ia n cteva proiecteconsecutive, pentru c` ideea m` captiveaz` [i m` ocup de ea n maimulte proiecte simultan. De obicei, [tiu c` m-am ocupat sucient de oidee arhitectural` atunci cnd devine prea u[or pentru mine s` concepo cl`dire. Sunt ntotdeauna con[tient de acest pericol! Dac` sunt nm`sur` s` aplic o idee arhitectural` a mea n mod mecanic, pentruc` mi cunosc sucient de bine concluziile logice ale ideii, atunci ea

[i pierde orice farmec [i [tiu c` este timpul s` m` opresc. M` au nimposibilitatea de a extinde o idee dincolo de acest punct, deoarecenu mi mai mbog`]e[te c`utarea arhitectural`. Nu cred c` arhitectura

on something already given a place, along with everything that

was built or appeared there naturally, with its uses, activities, needs,people, materials, etc. in the sense of understanding, caring for andcompleting this given. The premise is that architecture teaching mustallow and sustain the formation of a critical and ethical conscienceregarding the means and consequences of architecture: architectureworks with a given, and what matters rst and foremost is the goodrelationship with this given.Then, another major aspect arises, namely the formation of thecapacity to observe, to see, to interpret and to translate into thearchitecture project all of the clues set before the architect in theconcrete situations he/she encounters. Looking at the things aroundhim/her, the architecture students must feel that he/she is spoken

to in his/her own language and that he/she can understand the storythat these things have to tell. Personal involvement then becomesan essential condition. Each student has his/her own life experience,sensitivities, interests and abilities. The study themes give him/herthe opportunity to recover, make good use of and continue theseexperiences, as well as the opportunity to develop them and gain newexperiences, specic to the practice of architecture, with the help andthrough the guidance of university workshops.Within each new workshop theme and activities, the conscious,well-thought-out and argument choice of the material, place andusage is an important tool of building an adequate approach for everydifferent problem. The theme offers a clue and a pretext for a student

to build, more or less, his/her own theme, with the guidance of theprofessor. The experience, characteristics, priorities, methods and tacof each team of professors offer the reference points and landmarks,creating a rm base for the study of architecture. On this line, one candistinguish several permanent directions and problems that are also,more or less, found in the study themes.I make huge efforts to create buildings that are as new and novelas they can be. The best case scenario would be for each designedbuilding to be completely new, a total invention. It would be fantasticI am also well aware that I cant really manage to create somethingcompletely new each time, because of the various obstacles in myway, such as tradition or my own personality. One example is the

Crochiu de concep]ie. Lapidarium [i centru cultural Mogo[oaia. Acuarel` pe hrtie40x25cm./ Concept sketch. The Lapidarium and cultural centre of Mogo[oaia.Watercolour on paper 40x25cm.

Desen de studiu. Incinta Palatului Brncovenesc de la Mogo[oaia. Tu[ [i creion coloratpe hrtie 40x25cm./ Study drawing. The Palace in Mogo[oaia. India ink and colouredpencils on paper 40x25cm.




mea va vreodat` n pericol de a deveni stereotip` sau repetitiv`.Pentru mine, cea mai mare virtute este s` fac o arhitectur` nou`.Pentru a avea un impact social, noutatea este foarte important` narhitectur`.

s [ s] / a dmaa lLadam-l d la Mg[aa?O atrac]ie irezistibil`. Am avut cndva un vis frumos: veneam lapalat (not), urcam cele cinci trepte de piatr`, deschideam u[a maredin fer forg [i n holul de intrare erau ni[te statui (coloane) din

piatr` impozante. M-am trezit [i, ntr-o zi, acum cinci ani, colegamea arhitecta Alexandra Chiliman m-a invitat s` lucr`m mpreun`(s` proiect`m) cteva lucruri n incinta Palatului Brncovenescde la Mogo[oaia. Eu trebuia s` m` ocup de cl`direa ce urma s`ad`posteasc` func]iunea de lapidarium (pentru ceea ce mai r`masesedup` dezastrul de la M`n`stirea V`c`re[ti) [i un centru cultural/sal`pentru concerte [i expozi]ii, anexele necesare etc.). De data aceastanu mai era vis!Toat` copil`ria mea am tr`it, am respirat, am rs, am desenat nspa]iile (gr`din`, palat, lac, p`dure) incintei de la Mogo[oaia. Tat`lmeu mergea frecvent mpreun` cu al]i colegi, creatori [i ei (scriitori,actori, critici de art`, arti[ti plastici) [i lucrau n zon` (desenau, pictau,

discutau, comentau). Uneori i nso]eam [i eu. De atunci am f`cut cavisul minunat, descris la nceput, s` persiste n timp.Timpul a trecut [i, atunci cnd Alexandra mi-a propus s` proiectezceva n acel loc, am v`zut oportunitatea de a realiza ceva legat decasa din vis. Farmecul nu disp`ruse. Dup` un timp n care proiectula ie[it din actualitate, arhitectul Relu Botez m-a anun]at c` vom pornilucr`rile. Eu Lapidarium-ul [i Centrul Cultural, el restaurareaansamblului Palatului Brncovenesc.

|ntr-o noapte, am visat din nou Mogo[oaia... Eram n fa]a ei, eraceva estompat, acoperit de p`dure... Orict de aromat nostalgicar suna aceast` m`rturisire, ea este real`. Povestea-vis pune npagin` crochiurile de inten]ie f`cute: o galerie de peisaje, portrete

situation when I sometimes fall in love with an architectural idea, butnd myself incapable of creating a project to contain this idea, forvarious reasons. If I cannot build a new idea, then this idea reappearin several consecutive projects, because it captivates me and I explorit in various simultaneous projects.Usually, I know Ive lingered on one idea for long enough whendesigning a building becomes too easy. I am always aware of thisdanger! If I can apply one of my ideas mechanically, because I knowits logical conclusions very well, then it loses all its charm and I knowits time to stop. I nd it impossible to carry an idea beyond this point

because it is where the idea has ceased to enrich my architecturalsearch. I dont believe my architecture will ever be in danger tobecome stereotypical or repetitive. To me, my greatest virtue is myability to bring something new to the eld of architecture. Novelty isvital if architecture is to have an impact on society.

wa as sy d Ladam f Mg[aa? Ad dd s sks lk lk?An irresistible attraction. I once had a beautiful dream. In my dreamI went to the Palace for a swim, went up the ve stone steps, openedthe large wrought-iron doors and in the main lobby I saw severalimpressive stone statues (columns). I woke up and, one day, ve year

ago, my colleague Alexandra Chiliman invited me to work with her ondesigning a few elements for the Brancovan Palace of Mogo[oaia. Iwas to be in charge of the building that would host the Lapidarium(for what was left after the disaster of the V`c`re[ti Monastery)and a cultural centre/concert and exhibition hall with the respectiveannexes. This time, it wasnt just a dream!I spent all of my childhood living, breathing, laughing and drawingin the spaces of the Mogo[oaia estate (the garden, lake, forest andpalace). My father would often go there with his artist colleagues(writers, actors, art critics, painters) and they would work together(drawing, painting, talking, and commenting). At times I wouldaccompany them. Since those days, I managed to hold on to my

Desen de studiu. Lapidarium [i centru cultural de la Mogo[oaia (stnga). Plan [iperspectiv` n rela]ia cu frescele, coloanele [i p`durea existent` (dreapta)./ Conceptsketch. The Lapidarium and cultural centre of Mogo[oaia. (left). Plan and perspective ofthe frescoes, columns and forest (right).




de personaje care nu mai sunt, ntmpl`ri [i mprejur`ri trecute,dezam`giri [i euforii din care discursul conceptual al unei lucr`ri dearhitectur` se hr`ne[te. Astfel, povestea unei arhitecturi devine vie,concret`, tridimensional` [i real vizibil`.Ea con]ine un conglomerat de fapte [i efecte, de acte [i gndurigreu de separat printr-un efort intelectual. Crochiul se constituie camesaj [i nso]e[te ideea cu o oarecare imprecizie. Schi]ele de nceputale proiectului propun, ntr-un spa]iu-parc transparent, luminos,

n armonie cu peisajul puternic (p`dure de [es cu foioase, gard deincint` din zid`rie aparent`) al zonei de acces n ansamblul Palatului

Brncovenesc de la Mogo[oaia: un Lapidarium [i un Centru CulturalNa]ional, dar cu o identitate local`. Terenul de 10 hectare se continu`

ntr-un parc ce va ad`posti expozi]ia pe o succesiune de curbe aleterenului, imaginate ca replic` la geometria planimetric` a casei.Colaborarea permanent` cu biroul atelier de peisagistic` FoaieVerde a permis armonizarea liniilor grace ale trunchiurilor copacilor[i a p`durii existente cu arhitectura casei [i a exponatelor, coloane,brie, ancadramente din piatr` etc. ale bisericii m`n`stirii V`c`re[ti.Alternan]a sticlei [i a tablei de cupru, jocul de transparen]e [i dereexii ale locului permit o contopire a cl`dirii cu peisajul. O partedintre crochiuri sunt realizate la fa]a locului, altele au fost reluate [inalizate n atelier.

A] la a mas l` d saa. D l, ama x` m s a a d la oa Sl. c ]s ds a ?Complexul balnear a fost construit ntre anii 1906-1909 [i este formatdintr-un pavilion central, executat de me[teri italieni n stil orentin,[i stabilimentul bìlor, care este realizat n stil eclectic, de c`trearhitec]i vienezi. Acesta cuprinde s`li pentru bì calde [i aerosoli [ibazine pentru baie.Lucr`rile de restaurare au nceput n anul 2003 cu restaurareapavilionului central [i a pavilionului bìlor, urmnd ca amenaj`rileexterioare s` e executate n alt` etap`. Lucr`rile de restaurare

beautiful dream, the one I described above.The years passed, and when Alexandra invited me to designsomething for that place, I seized the opportunity to designsomething similar to the dream house. The dream still maintainedall of its charm. After a period of delay, architect Relu Botez toldme that we were to start working on the project. I would design theLapidarium and the cultural centre, while he would be in charge of threstoration of the Brancovan Palace.One night I had another dream about Mogo[oaia... I was standingbefore the estate and was looking at the blurred image of a forest-

covered landscape... As corny and nostalgic as this confession maysound, it is real. The dream-story provided the ordering element for thworking sketches: a gallery of landscapes, portraits of characters froma bygone age, past happenings and circumstances, disappointmentsand joys, all of them feeding the conceptual discourse of thearchitecture project. Thus, the history of a type of architecturebecomes alive, tangible, three-dimensional and truly visible.It contains a conglomerate of facts and effects, acts and thoughtsthat are hard to separate through an intellectual effort. The croquisis a message that accompanies the idea somewhat imprecisely. Theearly sketches of the project propose, in a transparent park space, inharmony with the strong landscape (a eld forest with broad-leaved

trees, exposed masonry fence) of the access area to the BrancovanPalace of Mogo[oaia: a Lapidarium and a National Cultural Centre,with a local identity. The 10 ha estate is continued with a park thatwill hose the exhibition space on a succession of curves of the site,designed as an answer to the plane geometry of the house. Theconstant collaboration with the Foaie Verde (Green Leaf) landscapedesign studio facilitated the harmonization of the graphic lines of thetree trunks and the existing forest with the architecture of house andthe objects displayed, from the church of the V`c`re[ti monastery(columns, belts, stone borders, etc.).The alternate use of glass and copper plate and the play ontransparency and reection allow the building to become one with th

|nconjurate de un frumos cadru natural, cl`dirile Complexului Balnear de la Ocna Sibiuluiau dobndit n timp o aur` fermec`toare [i totodat` ambigu`. / Placed in a beautifu lnatural setting, the buildings of the Balneary Complex of Ocna Sibiului have in timeacquired a charming, yet ambiguous aura.




urm`resc readucerea ntregului ansamblu la imaginea din jurul anului1910. Func]iunile au fost p`strate, ind completate cu facilit`]i deadaptare la tehnologiile actuale (buc`t`rii, ocii, spa]ii tehnice etc.).Sistemul de rezisten]` al fa]adelor a fost ref`cut n propor]ie de cca50% din pricina st`rii de degradare avansat` (lucru cauzat de mediulagresiv salin, dar [i de condi]iile de exploatare defectuoas`). Structuraactual` este din beton armat (stlpi, diafragme, pl`ci) [i din zid`riearmat`.Fa]adele au fost ref`cute n totalitate dup` desenul [i culoareaini]ial` a anilor 1910. Piesele deteriorate au fost ref`cute printurnarea n forme (matri]e) din plastic armat cu br` de sticl`, iarornamentele din piatr` s-au ref`cut din mozaic la culoarea ini]ial`.Decora]iile interioare au fost p`strate, reconstituite [i au fost repuse

n oper`, mpreun` cu p`r]ile aate nc` n stare bun`. Restaurareap`strez` culorile ini]iale, ref`cute conform mostrelor preluate de penisajele exterioare existente.

pl d ` al`s a ss asamll l`l dmaas`. cmad-l, a faaz` ml d s aaa. exs` [ `s`m?

O prim` caracteristic` ar tocmai aceast` varietate. Construc]iilebancare ofer` multiple posibilit`]i de expresie arhitectural`. O a douatr`s`tur` comun` este reprezentativitatea, sentimentul de ncredere [isiguran]` pe care aceste institu]ii trebuie s` l insue societ`]ii. Sediuloric`rei b`nci constituie un accent puternic n arhitectura ora[ului, iardin nscrierea n contextul urban rezult` specicul ec`rui exemplar.S` lu`m de pild` cazul B`ncii Comerciale din Media[ [i cel al B`nciiTransilvania din Cluj. Banca din Media[ e situat` n pia]a CorneliuCoposu, ancat` pe trei laturi de Prim`ria ora[ului, de Casa de Cultur`[i de hotelul Central, trei construc]ii str`ine de spiritul locului, careformau ceea ce la vremea respectiv` se numea centrul civic, care dauo anumit` scar` acestui spa]iu urban. Cl`direa b`ncii, plasat` pe frontul

str`zii Mihai Eminescu, pe ce-a de-a patra latur` a pie]ei, se raporteaz`ca ansamblu (demisol, un parter nalt [i dou` etaje) la gabaritul impusde aceste construc]ii, dar pe de alt` parte, prin fragmentarea volumelor[i alternan]a de suprafe]e curbe [i planuri nclinate, se racordeaz` laparcelarea [i diversitatea ora[ului istoric.Banca Transilvania din Cluj ocup` un teren ngust, cu latura mic` sprestrada George Bari]iu. Pe laturile lungi se nvecineaz` n adncime,la calcan, cu dou` construc]ii moderne, de n`l]imi diferite, iar fa]adasecundar` e orientat` spre Some[. Am c`utat scoaterea n eviden]` ab`ncii fa]` de cl`dirile al`turate, cu fa]ade pe care domin` panourilede zid`rie tencuit`. Pentru aceasta am apelat la o fa]ad` cortin`,scoas` n consol` pe n`l]imea celor [ase etaje, un scut concav din

sticl` ridicat deasupra nivelului str`zii, pe care reexiile luminii [i alecaselor din preajm` creeaz` un spectacol dinamic.

c df]` s l l] ddal [l asaml zd]al?E o mare diferen]`! Am avut [ansa de a proiecta pentru beneciaricu care m-am n]eles de minune, de[i erau oameni exigen]i, cupersonalit`]i bine conturate, ceea ce la prima vedere ridic` anumitedicult`]i. Dar asta creeaz` o atmosfer` stimulativ` n elaborareaproiectului. Alt avantaj al unei rela]ii directe este conrmarearezultatului nal. Cnd lucrezi la un ansamblu de vile beneciarul esteceva abstract, urmeaz` ca el s` adopte spa]iul gata constituit, s` i

landscape. Some of the sketches were drawn on site, while otherswere remade and completed in the studio.

Y a kd may sa js. Amg s, d oa Sl j ms x . wa ay ll s a ?The balneary centre was built between 1906 and 1909 and is madeup of a central pavilion, built by Italian masters in the Florentine styleand the thermae building, designed in an eclectic style by Viennesearchitects. It contains warm rooms and aerosols, as well as severalbasins.The restoration works began in 2003 with the restoration of the centrapavilion and the bath pavilion, and the exteriors were remade at alater date. The restoration works aimed to restore the ensemble to itsfull glory of 1910. The main functions were kept, with the addition ofcontemporary facilities (kitchens, ofces, technical spaces, etc.)The structural frame of the faades was only 50% remade, due to theadvanced state of decay (owed to the saline environment, as wellas to human neglect). The current structure is in reinforced concrete(pillars, diaphragms, plaques) and reinforced masonry.The faades were completely remade based on the drawings and

colours used in the 1910s. The damaged elements were remadethrough breglass plastic mould casting, while the stone ornamentswere remade from mosaic tiles and restored to their original colour.The interior decorations were kept, restored and reused, along withthe other elements still in good condition. The restoration works keptthe original colours, remade according to the samples taken from theexisting external nishes.

bak js als mak a ma a f y dy fk. cmag m, s sk y ga ay. A ay mm fas?This variety is, in itself, a common feature. Bank buildings offer

multiple possibilities of architectural expression. A second commonfeature is their representative character, the feeling of trust and safethat these institutions must inspire. The headquarters of any bankconstitute a strong landmark for a citys architecture, and the identityof each such building is given by the way it is inserted in the context.Lets consider the Commercial Bank in Media[ and the TransylvaniaBank in Cluj. The bank of Media[ is located in Corneliu Coposu Squarand anked on three sides by the City Hall, the Cultural Centre and thCentral Hotel, three buildings that are not representative of the spiritof the place and which make up what was at the time called the CivCentre and impose a certain scale on this urban space. The bankbuilding, located on Mihai Eminescu Street, on the fourth side of the

square follows the scale imposed by these buildings (semi-basementa high ground oor and two upper oors). But, on the other hand,through its fragmented volumes and alternation of curved surfacesand inclined planes, it adapts itself to the layout and diversity of thehistorical city.The Transylvania Bank of Cluj inhabits a narrow site, whose short sidfaces George Bari]iu Street. The buildings long sides are connectedto the blind walls of two modern buildings, differing in height, whileits secondary faade faces the Some[ river. I sought to emphasisethe bank by generating a contrast with the adjoining buildings, whosefaades are dominated by plastered masonry panels. In order toachieve this, I introduced a six-oor cantilever curtain faade, like a




se adapteze. Aparent e mai simplu, asta ]i d` mai mult` libertate deconcep]ie, dar [i un sentiment de incertitudine. Cnd am proiectatansamblul Clima-B`neasa, mi-am construit un beneciar imaginar,am ncercat s`-i denesc anumite op]iuni, aspira]ii, s`-i ofer iluziaunei alegeri personalizate, o cas` care s`-i apar]in`, s` e ntructvadiferit` de modelele curente. Am tìat planul cu pere]i oblici, caredau perspective interioare inedite. Acoperi[ul are una din panteaproape vertical`, n care am decupat goluri mari nu lucarne pentru ferestrele de la etaj. Se modic` [i scara construc]iei, privitedinspre sud par case cu un singur nivel.

ca da gaml d a` alzaa , m`s` afaz` sa fazazàlaa l`?Programul are cu siguran]` importan]a lui. Arhitectura nu beneciaz`de libertatea, a[ zice chiar gratuitatea picturii, ea este prindeni]ie utilitar`, trebuie s` mplineasc` anumite a[tept`ri pragmatice,parametri func]ionali, constructivi [i economici pentru a ecient`.Datele temei, constrngerile de amplasament sau normele urbanisticedirec]ioneaz`, dar nu sunt n m`sur` a stnjeni crea]ia arhitectural`.Jean-Paul Sartre spunea c` suntem condamna]i la libertate prin faptulc` ntre determin`rile exterioare [i ac]iunea proprie de r`spuns existùn ecart sucient pentru manifestarea individului.

Un bun exemplu pentru aceast` discu]ie ar cl`direa Farmexim dinBucure[ti, de pe [oseaua Fabrica de Glucoz`. Ca premise, nici loca]ia,nici destina]ia construc]iei nu incitau la o realizare ie[it` din comun.Dar, pe de alt` parte, aveau sucient` exibilitate pentru a stimulacreativitatea arhitectural`. P`strnd n interior o deplin` continuitatefunc]ional`, am descompus cl`direa n dou` volume distincte, att cageometrie, ct [i ca tratare a fa]adelor. Corpul principal este o prism`rectangular`, P+4, cu goluri dreptunghiulare pe o fa]ad` preponderentopac`. El este legat de un volum vitrat circular, n forma unui trunchide con r`sturnat. Aceast` rela]ie contrastant`, dar echilibrat`,individualizeaz` imaginea rmei care, nin]at` timpuriu, n 1990, aredeja o istorie proprie, o evolu]ie, o personalitate. Beneciarul [i-a

concave glass shield raised above the street level, and a stage for thedynamic show created by the reection of light and the neighbouringhouses.

wa s dff dsg f a ddals ad dsg f a ll sg ldg?The difference is huge! I had the opportunity to design houses forclients I had a great relationship with, although they were demandingpeople, with strong personalities, which, during the rst meeting,raised certain difculties. But this also creates a stimulating moodfor the elaboration of the project. Another advantage of a direct

relationship is the conrmation of the nal result. When you work ona housing ensemble, the client is an abstract entity, the one who willadopt the already built space and adapt to it. This may appear easierand it may seem to offer more creative freedom, but it also involvesa higher level of incertitude. When I designed the Clima ensemble inB`neasa, I built myself an imaginary client and tried to dene someof his options, aspirations, to offer him the illusion of a personalizedchoice, of a house that would be his own and somewhat differentfrom the current housing models. I introduced oblique walls to cutthrough the planes and generate unusual interior perspectives. Oneof the roof slopes is almost vertical and contains wide cut-outs notskylights for the top oor windows. The scale of the buildings is als

altered: seen from the South, they appear to be one-level houses.

wa s g f a gam dsg a j? h m ds aff fa aly f k?The program denitely has its purpose. Architecture does not enjoythe freedom or, rather, the gratuity of painting. It is utilitarianby denition and has to full certain pragmatic expectations andfunctional, building and economical parameters in order to be efcienThe brief data, site-related constraints and urban design norms dictata direction, but do not hamper architectural creation. Jean-PaulSartre said that we are condemned to freedom through the fact tha

Justicarea unor alegeri n ceea ce prive[te materialele folosite este strns legat` denatura [i locul dat. Casa familiei Zlatko Garac din Mogo[oaia. / The defense of someof the choices regarding the materials is closely connected to the nature and the givenplace. The Zlatko Garac family house of Mogo[oaia.

Crochiu de concep]ie pentru un sediu de birouri. Creion colorat pe hrtie de desen 45 x30 cm./ Concept drawing for an ofce building. Coloured pencils on drawingpaper 45 x 30 cm.




nsu[it acest mod de abordare, ca dovad` solicitarea unui proiectpentru un nou sediu al acelea[i societ`]i, aat acum n curs denalizare, n comuna Balote[ti.

Da` a s ` la dsl l ma /as al dmaas`, m a Mzl na]al d A`cma` d b[, Sdl s`] SAiFi, cllal d la Mg[aa, cysal t sa cl df] d la ol`[, l g ma sam` dmsa l mlma`. S d - md a s g`s[ xmaa las` d ada 1990-1995.Perioada de dup` anii 1989-1990, perioada construc]iilor bancare Sediile B`ncii Romne pentru Dezvoltare din Cluj, Predeal sauSibiu, sediul B`ncii Agricole din Cluj, sediul B`ncii Transilvania dinCluj sau sediul B`ncii Comerciale din Media[ este caracterizat`printr-o expresivitate a noilor tehnologii de lucru cu sticla, metalul[i piatra. Este un limbaj care, n cele din urm`, are ceva inexplicabil,spectaculos [i chiar nelumesc.

n compara]ie cu lucr`rile din jurul anului 1995, la extindereamagazinului Central din Cluj sau la Muzeul Na]ional de Art`Contemporan` am fost mai mult preocupat de epiderm`, de

porozitatea ei, de faptul c` am adus cl`dirile existente din exterior ninterior. Am schimbat ni[te raporturi interior-exterior, am cùtat s`valoric acest traseu, s` creez o anumit` dinamic`. Spre deosebirede M.N.A.C., care ntr-adev`r era un implant ntr-o arhitectur` maipu]in valoroas`, magazinul Central este situat ntr-o zona splendid`,zona istoric` a Clujului. Sunt acolo ni[te case cu ]igl`, tencuite, cuo dominant` a plinului, cu o patin` foarte frumoas`, sunt str`zilepietruite din zon` [i de aceea am cùtat s` mprumut ceva din plasticamaterialelor, nu din materiale, c` nu sunt [i nu am fost de acord cuimitarea lor. Am folosit tabl` de cupru perforat`, care e un materialviu, care lucreaz` n timp, mb`trne[te odat` cu zona istoric`. Pe dealt` parte, se vede casa veche, nu e o schimbare total` de identitate,

nici o cosmetizare a ei. Rela]ia cu situl istoric s-a f`cut prin alegereamaterialelor. De asemenea, n-am vrut s` e un volum masiv, pentruc` arhitectura din zon` este format` din volume adùgate, cas` lng`cas`, cu [arpant`, cu luminator. Cl`direa magazinului Central n sine adevenit un amalgam de diverse volume care caut` s` preia dinvibra]ia zonei istorice.Am perioade succesive n munca mea, n care limbajul exprim`riiarhitecturale se schimb`. Acest lucru s-a mai ntmplat de dou` ori

nainte. Determina]iile cu care orice arhitect porne[te la drum fac partedin zestrea lui cultural` [i profesional`. Ele sunt ca ni[te limite pe carenu el [i le-a ales, dar din care evolueaz` propria expresie arhitectural`.

c \a`m ma ml \ dalgl s, xllga d aaa dmaas` s aml`. tll `]pag d a`/f] [ l[ s f` la lm a a a zaz` a zaa l [asl, [ aaa d sala d s/al. As lz` d la a dsa d mads aa.p`sd mma asa [ dsd maalaas]l [ a l, a] a maa a dd sz`, al a`] d ` am?V` mul]umesc pentru aceast` \ntrebare. |mi desf`[or activitatea,deseori, \n atelierul de lucru cu studen]ii [i \n paralel \n biroul de

between the external constraints and the personal response there isenough space for the individual to manifest.This is eloquently illustrated by the Farmexim building in Bucharest,on Fabrica de Glucoz` (Glucose Factory) Avenue. In the beginning,neither the location, nor the destination of the building suggestedan exceptional architectural feat. But, on the other hand, they wereexible enough to stimulate architectural creativity. Maintaining thefunctional continuity of the interior, I decomposed the building intotwo distinct volumes, both geometrically and from the point of viewof the faade nishes. The main volume is a rectangular prism withve levels and rectangular cut-outs in a mostly opaque faade. It isconnected to a circular glazed volume, shaped like a truncated cone.This contrasting, but balanced relationship individualizes the imageof a company that was set up early, in 1990, and already has its ownhistory, evolution and personality. The client has appropriated thisapproach, hence the demand for a new ofce for the same company ithe village of Balote[ti, currently being completed.

if sd sks f y las js, s as naal Msm f may A bas, SAiFiadqas, clal c Mg[aa, cysal

t ol`[ cf c, a ya ff msly g mlma dms.ty a dd a ma a s fd y lasxss 1990 ad 1995.The years immediately following 1989-1990 and the years of the banbuildings the Romanian Bank for Development of Cluj, Predeal andSibiu, the Agrarian Bank of Cluj, the Transylvania Bank of Cluj and theCommercial Bank of Media[ - are characterised by the expression ofthe new technologies for working with glass, metal and stone. It is alanguage that, at the end of the day, holds something unexplainable,spectacular and even otherwordly.Compared to the projects undertaken around 1995, in the extension

of the Central Shop in Cluj or the National Museum of ContemporaryArt, I was more concerned with the epidermis and its porosity andwith turning existing buildings inside out. I changed the relationshipbetween inside and outside and sought to make the most of this ideaand create a certain sense of dynamics. Unlike the MNAC, which wasmainly an insertion in a not-so-valuable architecture object, the CentrShop is located in a beautiful area, namely the historical centre ofCluj. In that area, there are houses with a solid aspect, shingle roofsand a beautiful patina and the streets are cobbled, which is why Isought to borrow something of the expressivity of these materials,but not the materials themselves, because I did not and still do notagree with imitation. I used perforated copper sheet, which is a living

material that changes in time and ages along with the historical area.On the other hand, the old building is visible and the new project doesnot alter its identity, nor does it embellish it. The connection to thehistorical site was established through this choice of materials. Also,I never intended for the building to be a massive volume, because theneighbouring architecture is made up of added-up volumes: housesplaced next to each other, with roof trusses and air shafts. The shopbuilding itself became an amalgam of various volumes that seeks toabsorb some of the vibrancy of the historical area.In my work, I go through successive phases where the language ofmy architectural expression changes. This has happened to me twicein the past. The certainties that an architect sets out with are part of


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proiectare cu parteneri/beneciari mpreun` cu arhitec]ii colegi. Demulte ori, ideile circul` nencetat ntre aceste nc`peri, se sus]in [ise dezvolt`. Ele amintesc de laboratorul abstrac]iilor... al obsesiilorgeneratoare de noi idei [i conexiuni ilustrat de Andr Malraux prinsintagma muzeului imaginar.Caut permanent s`-mi men]in generozitatea pe care un pedagogtrebuie s` o aib` pentru a mp`rt`[i/ mp`r]i celor tineri experien]`profesional`. n rela]ia mea cu subiectivul [i obiectivul, n indeciziilepersonale, care apar n cotextul societ`]ii n ansamblul ei, ncerc s`m` redenesc [i s` anulez conven]ionalul.Arhetipurile arhitecturale [i permanenta raportare la ele sunt foarteimportante pentru latura creativ` a activit`]ii mele. Vechile cl`diri,str`zile [i ora[ele ne transmit idei, ne creeaz` impresii care uneori neinuen]eaz`, lund forma material` prin spa]ii [i volume. Piramideledin Egipt, abstracte, casele ]`r`ne[ti din Muzeul Satului din Sibiu,exemple de arhitectur` organic`-func]ionalist`, desenele lui PaulKlee, sculpturile cinetice ale lui Jean Tinguely, toate reprezint`arhetipuri. Vreau s` spun c`, indiferent dac` p`strez idei din memorialocurilor/formelor sau expresii abstracte raportate la arhetipuri, elem` ajut` s` mi claric gndurile privind arhitectura la care lucrez. Amvrut ca aceast` idee s` e bine conturat` n carte.

Eu cred c` arhitectura se dene[te prin desene/crochiuri, machete,imagini [i discursuri teoretice, prin urmare prezen]a lor n carteilustreaz` o lume denit` de informa]ii, de melancolie, de cunoa[teretehnologic`, de vis [i viziune etc. Eliminarea limitelor dintre desene,texte, crochiuri, poze [i contopirea lor ntr-un tot sugereaz` spa]iulimaginar, din mintea noastr`, re-creat n realitate.Prin cartea Pagini de arhitectur`/interferen]e [i nelini[ti, v` invits` medit`m din perspectiva unui dialog \ntre arhitect [i crea]ia sa, s`desen`m [i s` n]elegem o lume n care arhitectura este deja acolo,are locul [i forma ei, este vie.Ca multe alte prezent`ri de proiecte, desene [i texte, pe care le-ampublicat n ultimii ani, [i cartea de fa]` este rezultatul unei provoc`ri

venite din partea echipei igloo. Le mul]umesc, att lor, pentru faptulc` am reu[it s` duc cartea la bun sfr[it, ct [i celor care mi-au dat,f`r` ncetare, senza]ia c` lucrurile prezentate pot interesante [ichiar utile.Sper ca parcurgerea ideilor scrise, desenate [i construite s` fac`pl`cere cititorilor, m`car tot att ct mi-a f`cut mie conceperea lor.

his cultural and professional heritage. They make up limits that thearchitect has not consciously chosen, but which constitute the basisfor the evolution of his/her architectural expression.

As m fads dalg, sxsg y k m m ad m s. tl f s k A pags / ifs adAxs fs a aal ld a lds sa f y l js, as ll as y ayas a fss, adm ad ks. i dsa sag f dsssg ma das lad a. Kg m md ad dsg maal as f ldgs ad js, ld y ll sa f das a sm y ay s fa?Most of my activity takes place in the workshop, with the students, andin parallel, inside my studio, with my partners/clients and my architectcolleagues. Often, the ideas circulate unbrokenly between these roomssupporting each other and growing. They remind me of the laboratoryof abstractions... and obsessions generating new ideas and connectionillustrated by Andr Malraux through the phrase imaginary museum.I constantly seek to maintain the generosity that a teacher must

possess in order to be able to share his professional experience withthe young. In my relationship with the subjective and the objective, inmy personal indecisions, generated by the overall social context, I tryto redene myself and let go of the conventional.Architectural archetypes and the eternal return to them are veryimportant to the creative side of my activity. Old buildings, street andcities communicate ideas and create impressions that sometimesinuence us by assuming material shapes through spaces andvolumes. The abstract Pyramids of Egypt, the peasant houses inthe Sibiu Village Museum, illustrating a sort of functional organicarchitecture, the drawings of Paul Klee, or the kinetic sculptures ofJean Tinguely are all archetypes. What I mean is that, whether I app

ideas extracted from the memory of the place/shapes, or abstractexpressions extracted from archetypes, they help me clarify mythoughts on the type of architecture I practice. This is the idea thatthis book focuses on.I believe that architecture denes itself through drawings/croquis,models, images and theoretical discourses and therefore their presencin this book illustrates a world dened by information, melancholy,technical knowledge, dreams, visions, etc. With no limits separating thdrawings, texts, croquis, photographs, they come together into a unitarensemble suggesting an imaginary space, recreated within the realspace and, at the same time, located in our minds.Through this book, called Architecture Pages / Interferences

andAnxities, I tried to encourage people to meditate from theperspective of a dialogue between the architect and his creation, todraw and understand a world where architecture exists and has itsown place and shape.Like many other project features and texts that I have publishedduring the last few years, this book sprung from a challenge raisedby the igloo team. I would like to take this opportunity to thank themfor helping me in seeing this project to its end, and also to thank thepeople who have constantly reinforced my conviction that the bookscontents can be interesting and even useful. I hope the readers enjoybrowsing through the ideas Ive written, drawn and built as much as enjoyed thinking them up

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