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Descrierea CIP a Bibliotecii Na]ionale a RomânieiKarel Zdenêk Líman: arhitectul ceh al Casei Regale
a României / Ruxanda Beldiman, Sorin Vasilescu, Mircea Hortopan, Narcis Dorin Ion. - Bucure[ti: Igloo, 2013ISBN 978-606-8026-28-2
I. Beldiman, RuxandaII. Vasilescu, SorinIII. Hortopan, Mircea AlexandruIV. Ion, Narcis Dorin
72(437) Líman,K.Z.:94(498)929 Líman,K.Z.
Proiectul a luat na[tere la ini]iativa Ambasadei Republicii Cehe la Bucure[ti cu sprijinul amabil al CEZ Romånia. / This project came into being at the initiative of the Embassy of the Czech Republic in Bucharest and with the kind support of CEZ Romania.
Toate drepturile sunt rezervate. Ele sunt protejate de legile în vigoare privitoare la dreptul de autor. Orice reproducere total` sau în detaliu, prin orice fel de mijloace de copiere sau transmisie, este interzis` f`r` acordul editurii Igloo Media. All rights reserved. No part of this publication may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without written permission of Igloo Media.
Bucure[ti, © igloomedia, 2013
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Karel Zdenêk LímanArhitectul ceh al Casei Regale a Romåniei
The Czech architect to the Romanian Royal Court
Ruxanda Beldiman, Mircea Hortopan,Narcis Dorin Ion, Sorin Vasilescu
iglooprofil
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SUMAR / CONTENTS
CUVÅNT |NAINTE / FOREWORDASR Principesa mo[tenitoare Margareta a României 7H.R.H. The Crown Princess Margareta of RomaniaJi+í titler, Ambasadorul Republicii Cehe la Bucure[ti 8Ambassador of the Czech Republic in BucharestJan Veskrna, Manager de ]ar` pentru Grupul CEZ România 9Jan Veskrna, Country Manager CEZ Romania Group
I. UN DESTIN DE ARCHITECT CEH ÎN ROMÂNIA: KAREL ZDENÊK LÍMAN 10I. A CZECH ARCHITECT’S DESTINY IN ROMANIA: KAREL ZDENÊK LÍMANRuxanda Beldiman
II. PROIECTE {I LUCR~RI / II. DESIGNS AND WORKS
CEHIA / CZECH REPUBLICCASA LÍMAN / LÍMAN HOUSE 32Ruxanda Beldiman
CAVOUL FAMILIEI LÍMAN / THE LÍMAN FAMILY VAULT 36Ruxanda Beldiman
ROMÅNIA / ROMANIACASA DE VÂN~TOARE A REGELUI FERDINAND, BAHNA RUSULUI 40THE ROYAL HUNTING LODGE OF KING FERDINAND, BAHNA RUSULUIMircea Hortopan
DOMENIUL REGAL BRAN: VISUL UNEI REGINE {I AL UNUI ARHITECT 44THE ROYAL ESTATE AT BRAN: THE DREAM OF A QUEEN AND HER ARCHITECT Narcis Dorin Ion
CAMERA NORVEGIAN~, PALATUL COTROCENI, BUCURE{TI 96THE NORWEGIAN ROOM, COTROCENI PALACE, BUCHARESTRuxanda Beldiman
CABANA DE VÂN~TOARE A REGELUI FERDINAND, L~PU{NA 106THE HUNTING LODGE OF KING FERDINAND, L~PU{NA Ruxanda Beldiman
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CASTELUL PELE{ / CASTLE PELE{ 110Ruxanda Beldiman
CASTELUL PELI{OR / CASTLE PELI{OR 148Mircea Hortopan
CASA ARHITECTULUI / THE ARCHITECT’S HOUSE 178Ruxanda Beldiman
CORPUL DE GARD~ / THE GUARDHOUSE 186Ruxanda Beldiman
CUIBUL PRINCIPESEI / THE PRINCESS’S NEST 192Ruxanda Beldiman
ECONOMATUL / THE ECONOMAT 196Ruxanda Beldiman
GARAJELE NOI / THE NEW GARAGES 202Ruxanda Beldiman
GRAJDURILE NOI DE LA FURNICA / THE NEW STABLES AT FURNICA 206Ruxanda Beldiman
SLOVACIA / SLOVAKIACABANA DE VÂN~TOARE, JAVORINA / HUNTING LODGE, JAVORINA 210Ruxanda Beldiman
III. MARIA REGINA ROMÂNIEI: GÂNDURI {I IMPRESII LA MOARTEA ARHITECTULUI KAREL LÍMAN 212III. QUEEN MARIE OF ROMANIA’S THOUGHTS ABOUT ARCHITECT KAREL LÍMAN ON HIS DEATHRuxanda Beldiman
IV. KAREL LÍMAN ÎN CONTEXTUL ARHITECTURII ROMÂNE{TI 218IV. KAREL LÍMAN IN THE CONTEXT OF ROMANIAN ARCHITECTURESorin Vasilescu
BIBLIOGRAFIE SELECTIV~ / SELECTED BIBLIOGRAPHY 238
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Semn`tura arhitectului Karel Líman / Architect Karel Líman’s signature
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7 FOREWORD
KAREL ZDENÊK LÍMAN
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28 UN DESTIN DE ARHITECT CEH ÎN ROMÂNIA: KAREL ZDENÊK LÍMAN
KAREL ZDENÊK LÍMAN
1. Václav, tat`l arhitectului [i fra]ii s`i Antonín [i Karel Líman / Václav, the architect’s father,and his brothers Antonín and Karel Líman.2. Casa str`mo[easc` a familiei Líman de la Nemyslovice / The ancestral home of the Límanfamily at Nemyslovice3. Karel în timpul stagiului militar, c. 1880 / Karel during his military service, c. 18804. Împreun` cu familia pe terasele de r`s`rit ale Castelului Pele[, c. 1920 / With his familyon the east terraces of Castle Pele[, c. 19205. În parcului Castelului Pele[, c. 1920 / In the park of Castle Pele[, c. 1920 6. Arhitectul conducånd un grup de „persoane de distinc]iune” / The architect conducting agroup of “important persons”7. Líman pe Riviera italian`, 1906 / Líman on the Italian riviera, 1906.
1
2
3
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29 A CZECH ARCHITECT’S DESTINY IN ROMANIA: KAREL ZDENÊK LÍMAN
KAREL ZDENÊK LÍMAN
4 5
6 7
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30 UN DESTIN DE ARHITECT CEH ÎN ROMÂNIA: KAREL ZDENÊK LÍMAN
KAREL ZDENÊK LÍMAN
1 2
3 4
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31 A CZECH ARCHITECT’S DESTINY IN ROMANIA: KAREL ZDENÊK LÍMAN
KAREL ZDENÊK LÍMAN
1. Arhitec]ii Jean Ernst [i Alfred Popper în biroul de arhitectur`. / Architects Jean Ernst and Alfred Popper in the architectural bureau. 2. Membrii biroului de arhitectur`, arhitec]ii Karel Líman, Jean Ernst Alfred Popper, Constantin {tefanovici, necunoscut. / Members of the architectural bureau: KarelLíman, Jean Ernst Alfred Popper, Constantin {tefanovici, unknown.3. Casa portarului, domeniul regal Pele[, arh. Jean Ernest. / The porter’s house, Pele[ Royal Estate, architect: Jean Ernest.4. Casa Gogu Dumitrescu, str. prof. Ion Ursu nr. 6, Bucure[ti, arh. Alfred Popper / The Gogu Dumitrescu House, Prof. Ion Ursu Street, no. 6, Bucharest, architect: Alfred Popper.5-6. Instantanee de la funerariile arhitectului, Mladá Boleslav, 1929. / Snapshots from the architect’s funeral, Mladá Boleslav, 1929.7. Ferpar de deces al arhitectului semnat de familie. / Announcement of the architect’s death, signed by the family.
5
76
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32 CASA LÍMAN, MLADÁ BOLESLAV
KAREL ZDENÊK LÍMAN
Pe un teren achizi]ionat c`tre 1880, Václav Líman, tat`l arhitectu-lui ini]iaz` construc]ia unei re[edin]e de tip hôtel particulier caretrebuia s` exprime statutul nou al familiei intrate în rândul mariiburghezii din Mladá Boleslav. Vechea locuin]` familial`, cu oarhitectur` de tip rural, situat` la periferia ora[ului, nu mai cores-pundea cerin]elor impuse de noua pozi]ie social`.„Construc]ia casei a fost efectuat` de fiul nostru cel mare, Karel,care tocmai în aceast` perioad` nu a z`bovit s` ne viziteze”,men]ioneaz` actul de funda]ie a casei redactat de Václav Líman,maestru dulgher. Piatra de temelie a fost pus` la începutul luniiaugust a anului 18852, lucr`rile încheindu-se în acela[i an. Defapt, lui Karel Líman i se datoreaz` proiectul cl`dirii, nu [i con-struc]ia de care se va ocupa tat`l s`u, dup` cum se specific` în document.3
Cl`direa de plan dreptunghiular u[or neregulat este compus` dintrei nivele utilizabile – pivni]`, un hochparter, etajul par]ialmansardat [i podul. La parter lectura planului pune în eviden]`prezen]a unor ziduri de rezisten]` care traverseaz` casa de la uncap`t la altul, împ`r]ind-o în trei zone distincte, paralele, ce cores-pund deschiderilor din fa]ad`. O zon` median` cuprinde hall-ul[i scara de acces la etaj; în dreapta se afl` intrarea, un vestibul [iun salon; în stânga, alte trei înc`peri. Etajul se compune dintr-unsalon situat deasupra hall-ului [i dou` înc`peri mansardate sime-trice fa]` de spa]iul central. Líman a conceput o cas` solid articulat`, simetric` [i armonioas`,având fa]ada principal` aliniat` la strad`. Intrarea în cl`dire seface din curte prin fa]ada din spate, opus` celei principale.Imobilul prezint` dou` nivele vizibile (hochparter [i etaj) [i unacoperi[ înalt ce încununeaz` în axul median silueta cl`dirii.Parterul înalt cu trei deschideri la fa]ada principal` este surmon-tat central de volumul etajului ornat cu doi atlan]i, elemente deplastic` arhitectural` pregnante în jocul de plinuri [i goluri alfa]adei. În rest, decora]ia de un eclectism echilibrat se compunedin motive de vocabular neoclasic (pila[tri aplatisa]i cu capiteleionice la parter, corintice la etaj; ghirlande etc.) [i de neo-rena[tere (lucarne4) ce scandeaz` în ritm elegant întreaga ima-gine. Fa]ada lung` dinspre curte – cea care cuprinde intrarea înlocuin]` – este dublat` de o gra]ioas` galerie deschis` pe stâlpi de
Casa Líman, str. Praïská nr. 224, Mladá Boleslav1 (1885)
Líman House, Praïská Street, no. 224, Mladá Boleslav1 (1885)
On a plot of land purchased around the year 1880, VáclavLíman, the architect’s father, began construction of a hôtel par-ticulier-type residence that was to express the new status of thefamily, as part of the Mladá Boleslav haute bourgeoisie. Theold family dwelling, with its rural architecture, situated at theedge of the town, no longer met the demands imposed by theirnew social position. “Construction of the house was carried out by our eldest son,Karel, who was visiting us at the time,” state the deeds of thehouse, drawn up by Václav Líman, master carpenter. The foun-dation stone was laid at the beginning of August 18852, andwork was completed the same year. In fact, Karel Límandesigned the building, but his father carried out the buildingwork, contrary to what it says in the deeds.3
The house has a slightly irregular rectangular plan and threeusable storeys: a cellar, a hochparterre , a partly mansardedupper floor and an attic. The plans show that the ground floorhas load-bearing walls that run from one end of the house tothe other, dividing it into three separate, parallel areas, whichcorrespond with the openings on the façade. A middle area
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33 LÍMAN HOUSE, MLADÁ BOLESLAV
KAREL ZDENÊK LÍMAN
contains the hall and the staircase to the upper storey; to theright there is an entrance, a vestibule and a salon; to the left areanother three rooms. The upper floor is made up of a salonabove the hall and two mansarded rooms symmetrical to thecentral area. Líman designed a solidly articulated, symmetrical and harmo-nious house, whose main façade faces the street. The Entrancewas via the courtyard, by the rear façade, opposite the mainfaçade. The building has two visible storeys (the hochparterreand upper floor) and a tall roof that crowns the outline of thebuilding along the median axis. The tall ground floor with itsthree openings on the main façade is surmounted in the centreby the volume of the upper storey decorated with two stat-uettes of Atlas, sculptural features prominent in the rhythm ofthe façade. Otherwise, the decoration is of a balanced eclecti-cism, made up of motifs from the neo-classical (flattenedpilasters with Ionic capitals on the ground floor, Corinthiancapitals on the upper storey; garlands etc.) and neo-Renaissance (skylights4) vocabulary, which blend rhythmicallywith the whole. The long façade facing the courtyard, wherethe entrance is located, combines with a graceful open gallerywith wooden posts, reached by a stone staircase with twoflights. It was a family custom to gather there for photographs. The style chosen by the architect was undoubtedly inspired bythe residential villas of the Vienna Ringstraße built in the period.
1 The building is still owned by Mrs Anna Salacová-Límanová (2013). 2 Deeds to the house, archive of Mrs Anna Salacová-Límanová, MladáBoleslav.3 “After a very humble start and great striving, the Almighty blessed ourefforts, he helped us to have a tranquil and carefree old age, and so wedecided to build this house as a quiet refuge for our years of retirement”Ibid, pp. 1-2.4 Two of these skylights have since been altered.
lemn la care se accede pe o scar` de piatr` în dou` rampe. Familiaavea obiceiul s` se reuneasc` aici pentru fotografii. Formula stilistic` aleas` de arhitect a fost f`r` îndoial` inspirat`de vilele ce se construiau în epoc` în cartierele reziden]iale aleVienei [i în special în zona Ringului.
1 Imobilul se afl` în continuare în posesia doamnei Anna Salacová-Límanová(2013).2 Actul de fondare a casei, arhiva doamnei Anna Salacová-Límanová, MladáBoleslav. 3 „Dup` un început foarte modest [i multe str`duin]e, Atotputernicul a binecu-vântat eforturile noastre, ne-a ajutat s` avem o b`trâne]e lini[tit` [i lipsit` degriji, a[a c` am hot`rât s` ne construim aceast` cas` ca un refugiu lini[tit pentruanii no[tri de odihn`.” Ibidem, p. 1-2.4 Dou` dintre aceste lucarne [i-au pierdut aspectul original.
Familia Líman pe veranda din spatele casei, c. 1906 / The Límanfamily on the veranda behind the house, c. 1906
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34 CASA LÍMAN, MLADÁ BOLESLAV
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35 LÍMAN HOUSE, MLADÁ BOLESLAV
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44 DOMENIUL REGAL BRAN: VISUL UNEI REGINE {I AL UNUI ARHITECT
KAREL ZDENÊK LÍMAN
Dintre toate re[edin]ele regale din România, castelul Bran a fostcastelul preferat al reginei Maria, care m`rturisea – la 20 iulie1924, într-un elogiu adresat vechii cet`]i – „bucuria de a m` trezila Bran, în Branul cel mult iubit, în unicul meu capriciu, în micamea locuin]` aparte, atât de diferit` de orice altceva, atât debizar` [i în acela[i timp atât de frumoas`, cea mai frumoas` carepoate exista. (…) De fiecare dat` simt aceea[i bucurie când m`trezesc. Bucuria de a fi acolo, bucuria de a fi eu singura [i necon-testata posesoare a acestui castel neînchipuit de minunat”1. Istoria castelului Bran ca re[edin]` regal` începe la 1 decembrie1920, când bra[ovenii – prin glasul primarului dr. Karl Schnell –au f`cut un gest de curtoazie fa]` de noii suverani ai RomânieiMari, d`ruind castelul reginei Maria. Aceasta a fost [i [ansacastelului Bran de a reveni la via]`, c`ci f`r` restaurarea f`cut` –din ordinul reginei – de arhitectul Karel Líman, edificiul ar fiîmp`rt`[it probabil soarta altor monumente medievale pe careindiferen]a oamenilor [i trecerea timpului le-au dus la ruin`. La1 decembrie 1920 – consemna regina Maria în Însemn`rile salezilnice – „municipalitatea din Bra[ov mi-a telegrafiat ca s`-miofere frumosul castel de la Bran. Am acceptat cu pl`cere. AcumLíman [i cu mine avem cu ce s` ne distr`m”2. Preluarea castelului de c`tre regina Maria s-a f`cut în prezen]aîntregii comunit`]i din Bran, evenimentul fiind o adev`rat`s`rb`toare. „A fost un moment glorios când am mers s` iau înposesie micu]a mea fort`rea]` – î[i amintea suverana – [i to]ilocuitorii de la o mul]ime de mile dep`rtare s-au bucurat împre-un` cu mine, pentru c` venirea mea era un eveniment binecuvân-tat în vie]ile lor pline de griji [i lipsite de culoare. Acum singurati-cul castel f`r` de suflet va fi trezit la via]`, va privi în jos dinîn`l]imea lui, va deveni dintr-o dat` un punct de gravita]ie, unprotector str`juind asupra avu]iilor [i neajunsurilor lor. Au venitîn grupuri s`-mi ureze bun venit, to]i în cele mai bune costumede duminic`, s`-mi ureze noroc, s`n`tate bun`, via]` lung`”3.
Castelul revine la via]`
Dup` ce a intrat în posesia reginei Maria, între 1920 [i 1938castelul Bran a suferit o serie de transform`ri arhitecturale, în
Of all the royal residences in Romania, Castle Bran was QueenMarie’s favourite, as she confessed on 20 July 1924 in an encomi-um to the old fortress: “The joy of waking up at Bran, at my muchbeloved Bran, in my sole caprice, in my small private home, so dif-ferent from anything else, so odd and at the same time so beauti-ful, nothing could be more beautiful. (…) I always feel the samejoy when I wake up. The joy of being there, the joy of being thesole, uncontested owner of this unimaginably beautiful castle.”1
The history of Castle Bran as a royal residence begins onDecember 1920, when the people of Bra[ov, through theirspokesman Mayor Dr Karl Schnell, made a gesture of courtesy tothe new sovereigns of Greater Romania, donating the castle toQueen Marie. This was also an opportunity for Castle Bran toreturn to life, since without the restoration work carried out byarchitect Karel Líman at the Queen’s behest, the building wouldmost likely have shared the fate of other mediaeval monuments,which neglect and the passage of time had reduced to ruins. On 1December 1920, Queen Marie recorded in her daily diary: “TheMunicipality of Bra[ov telegraphed me to offer me the beautifulcastle at Bran. I accepted with pleasure. Líman and I are now goingto have some fun.”2
The castle was formally handed over to Queen Marie in the pres-ence of the entire community of Bran, and the event was a true cel-ebration. “That was a glorious moment when I went to take pos-session of my own little fortress,” the Queen recalled, “and all thepeasants from miles around rejoiced with me, for my coming wasa blessed event in their careworn, colourless lives. Now the lone-some, soulless, masterless little stronghold would awake to life,would look down from its height, would suddenly become apoint of gravitation, a protector watching over their weal and woe.They came in crowds to welcome me, all in their best Sunday cos-tumes, to wish me good luck, good health, a long life.”3
The castle comes back to life
Between 1920 and 1938, after it entered the possession ofQueen Marie, Castle Bran underwent a series of architecturalalterations, aimed at making it a modern summer residence. In
Domeniul Regal Bran:Visul unei regine [i al unui arhitect
The Royal Estate at Bran:The Dream of a Queen and Her Architect
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45 THE ROYAL ESTATE AT BRAN: THE DREAM OF A QUEEN AND HER ARCHITECT
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dorin]a de a se face din el o modern` re[edin]` de var`. Lucr`rileau fost conduse de arhitectul [ef al Casei Regale, cehul KarelLíman, care a lucrat [i la castelele Pele[ [i Peli[or. În acestecondi]ii, castelul Bran a devenit locul perfect în care colaborareadintre arhitectul Karel Líman [i regina Maria a României a dus latranspunerea în realitate a imagina]iei creatoare a celor doiarti[ti. Peste ani, regina Maria î[i amintea cu nostalgie acelemomente de început ale colabor`rii cu arhitectul Líman: „Aveamun scump b`trân arhitect al casei noastre, mo[tenit de pe timpulregelui Carol. {i el mereu visase c`-i va fi dat într-o zi s` repareun vechiu castel; acum aceast` mic` [i fantastic` cl`dire a devenitmunca sa preferat`. El s-a instalat acolo, ca o bufni]` într-un zidvechiu, [i î[i pune toat` dragostea, toat` îndemânarea s` fac` unadev`rat giuvaer din mica mea comoar`. Dar noi nu ne gr`bims` ispr`vim lucrul, suntem ca ni[te copii cu o juc`rie ce ne e drag`[i de care nu ne s`tur`m niciodat`; în fiecare an, noi refacem câteceva, f`r` a ne permite s` schimb`m aspectul original al cl`dirii.Mica cetate a r`mas deci puternic` [i semea]`”4. Unul dintre ceimai apropia]i colaboratori ai familiei regale, Eugeniu ArthurBuchman – care a „vizitat loca[ul de mai multe ori, în toatefazele sale de refacere, [i-l cuno[tea cu deam`nuntul” – consem-na în Memoriile sale colaborarea perfect` dintre regina Maria [iarhitectul Líman: „Cu gustul original al Reginei [i cu sim]`mân-tul artistic al arhitectului Líman, s-a ajuns la o amenajare care s`poat` împ`ca vechiul stil al cl`dirii cu nevoile vie]ii moderne,dar cu toate silin]ele [i cu toat` râvna depus` a r`mas tot un cuibde cucuvele [i nu invidiez pe nimeni care ar fi silit s` locuiasc`acolo mai mult de trei zile”5. La scurt timp de la primirea castelu-lui Bran, în ziua de 6 ianuarie 1921, regina Maria a avut laPalatul Cotroceni „o lung` întrevedere cu Líman despre gr`dini[i despre Bran, pentru care a f`cut deja mai multe planuri deîmbun`t`]iri. Dar, vai, în prezent pre]ul pentru orice este extremde mare”6. Primele planuri pentru restaurarea [i reamenajareacastelului Bran i-au fost prezentate reginei Maria de c`tre arhitec-tul Líman în ziua de 26 februarie 19217. Arhitectul Karel Líman s-a dovedit a fi nu numai inspirat în pla-nurile de reamenajare a castelului Bran, dar a împ`rt`[it cu regi-na Maria acela[i entuziasm creator care a transformat vecheacetate într-o re[edin]` regal` unic`. La 9 iunie 1921, regina Mariaîmpreun` cu doamnele de onoare [i arhitectul Líman ajung laBran, unde pun câteva covoare în camere, a[az` câteva piese demobilier [i merg s` vad` „toate îmbun`t`]irile ce vor începe înacest an. Am notat cu aten]ie totul. Bunul prieten (Líman – n.n.)se bucur` de asta la fel de mult ca [i mine [i este gata s` fie deacord cu orice originalitate, f`r` proteste sau imposibilit`]i”.Con[tient` de rolul lui Líman în realizarea visului de la Bran,regina Maria recunoa[te c` „n-a[ fi reu[it niciodat` s` aranjezBranul, cum am f`cut-o, dac` n-ar fi fost el. El [tie s` profite defiecare col]i[or [i continu` s` amelioreze micul loc f`r` a-i strica
charge of the alterations was the chief architect of the RoyalHouse, Czech Karel Líman, who also worked on castles Pele[and Peli[or. In these circumstances, Castle Bran became theperfect place for the collaboration between architect KarelLíman and Queen Marie of Romania, and it was the site wherecreative imagination of the two artists was transposed into real-ity. Years later, Queen Marie would look back nostalgically tothose early days of her collaboration with architect Líman: “Wehave a dear old architect belonging to our house-hold, inherit-ed from King Carol’s times. He, too, had always dreamed thatone day it would be granted him to repair an old castle; nowthis quaint building has become his pet work. He has settleddown there like an owl in an old wall and devotes all his love,all his skill, to make a real treasure out of my precious littleplace. But we are in no hurry to complete our work, we are likechildren with a beloved toy of which we never weary; each yearwe improve something, without allowing its original aspect tochange. It is still the impregnable, pugnacious little fortress.”4
One of the closest associates of the Royal Family, EugeniusArthur Buchman, who “visited the place many times, duringevery phase of its rebuilding, and knew it in detail,” records inhis Memoirs the perfect collaboration between Queen Marieand Líman: “With the Queen’s original taste and architectLíman’s artistic sense, a refurbishment was achieved that wasable to reconcile the old style of the building with the require-ments of modern life, but for all their efforts and all their striv-ing it still remained an owls’ nest and I do not envy anybodyobliged to live there for more than three days.”5 A short timeafter receiving Castle Bran, on 6 January 1921 at the CotroceniPalace Queen Marie had “a long discussion with Líman aboutthe gardens and about Bran, for which he has already drawn upa number of plans for improvements. But, alas, at present theprice for everything is exorbitantly high.”6 Architect Líman pre-sented the first plans for the restoration and refurbishment ofCastle Bran to Queen Marie on 26 February 1921.7
Architect Karel Líman not only proved to be inspired in hisplans for the refurbishment of Castle Bran, but also he sharedwith Queen Marie the same creative enthusiasm that trans-formed the old fortress into a unique royal residence. On 9June 1921 Queen Marie, together with her ladies in waiting andarchitect Líman, arrived at Bran, where they laid a few carpetsin the rooms, installed a few items of furniture, and went to see“all the improvements that are to begin this year. I made a care-ful note of everything. My good friend (Líman) delights in itjust as much as I do and is ready to agree to any original idea,without protesting or saying it cannot be done.” Aware ofLíman’s rôle in achieving her dream for Bran, Queen Marieacknowledges: “I would never have managed without him torefurbish Bran as I have done. He is able to set off each nook to
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Dormitorul Regelui Ferdinand I / King Ferdinand’s I bedroom.
Dormitorul Reginei Maria / Queen Marie’s bedroom
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Salonul Prin]esei Ileana / Princess Ileana’s drawing room
Salonul de muzic` al Castelului Bran / The Music Room at Castle Bran
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Salonul mare al Reginei Maria / Queen Marie’s Large Salon
Regina Maria \n salonul galben al Castelului Bran / Queen Marie in the Yellow Room at Castle Bran
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Vedere dinspre sud / View towards the south
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Dormitorul reginei / The Queen’s bedroom
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Interior cu sob` din cahle [i u[` pictat` concepute de Líman / Interior with tiled stove and painted doordesigned by Líman
Arcad` detaliu decorativ din proiectul de amenajare al arh. Líman / Arch: decorative detail from Líman’srestoration plans
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96 CAMERA NORVEGIAN~, PALATUL COTROCENI
KAREL ZDENÊK LÍMAN
Camera norvegian`, Palatul Cotroceni, Bucure[ti (1910)
The Norwegian Room, Cotroceni Palace, Bucharest (1910)
Principesa Maria nu s-a acomodat cu stilurile „Altdeutsch [irococo r`u imitate”1 ale apartamentului pus la dispozi]ie deRegele Carol I în Palatul regal din Calea Victoriei. Gustul eclectical Mariei, neconfigurat deocamdat` într-o viziune coerent`,descindea dintr-o expresie artistic` anglo-saxon` de sfâr[it desecol XIX, în care se pot identifica repere Arts and Crafts, ele-mente celtice, scandinave, neobizantine etc. La pu]in timp de la sosirea ei în ]ar` (1893), arhitectul PaulGottereau va fi îns`rcinat s` reamenajeze înc`perile PalatuluiCotroceni destinat drept re[edin]` oficial` principilor mo[teni-tori. Diferitele variante de eclectism francez (neo-Henri II, neo-Louis XIV, Napoléon III etc.) pe care i le propune Gottereau, sevor dovedit a nu fi pe placul Mariei. Dup` realizarea camerei înstil neo Louis XIV, ea va cere modificarea planurilor pentruapartamentele sale [i remodelarea spa]iilor în „înc`peri mobilateîn mare parte în stil englez”.2 Decel`m înc` de la început dorin]aprin]esei de a regândi concep]ia arhitectural` pentru propriilecamere de la Palatul Cotroceni, în spiritul unei case britanice dela 1900. În epoc`, se afirma c` originea etnic` a englezilor se g`sea înlumile celtic`, saxon` [i scandinav`, idee preluat` [i de RomillyAllan, un autor citit de Principesa Maria [i de Karel Líman.Elemente decorative ale acestui vocabular se reg`seau în spa]iilegândite de Principesa Maria la Cotroceni, probabil [i în ideea dea-[i configura un stil între ale c`rui surse sa fie [i propriile„r`d`cini”. În ce m`sur` arhitectul Karel Líman a fost implicat în acesteprime variante ale interioarelor prin]esei mo[tenitoare este oîntrebare la care g`sim doar par]ial r`spuns. Din ansamblulcuprinzând Camera verde (c.1900), Salonul aur (1901),Dormitorul de argint (1905)3 [i Camera norvegian` (1910), semai p`streaz` ast`zi doar ultimul spa]iu, oper` cert` a lui KarelLíman, dup` cum afl`m din coresponden]a Principesei Maria4.În perioada celor zece ani când s-au realizat cele patru înc`peride la Cotroceni, Líman era implicat în primul rând în proiectarea[i construc]ia Castelelor Pele[ [i Peli[or. Atmosfera spa]iiloramintite de la Cotroceni indic` o viziune artistic` înc` necoagu-lat` a comanditarei, cu excep]ia Camerei norvegiene, de fapt
Princess Marie could not adjust to the “Altdeutsch and poorlyimitated rococo”1 styles of the suite placed at her disposal by KingCarol I in the Royal Palace on Calea Victoriei. Marie’s eclectictastes, which had not yet taken coherent shape, originated in thenineteenth-century British Arts and Crafts movement, in Celtic,Scandinavian and neo-Byzantine elements. Shortly after her arrival in Romania, in 1893, architect PaulGottereau was assigned the task of refurbishing the rooms of theCotroceni Palace that were to become the official residence of theheirs to the throne. The various versions of French eclecticism(neo-Henri II, neo-Louis XIV, Napoleon III, etc.) that Gottereau
Salonul norvegian, amenajare din anii 1920/ Norwegian room interwar aspect
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boudoir-ul prin]esei. Concep]ia acesteia privind arhitectura deinterior î[i va g`si mai târziu formula decantat` în „stilul ReginaMaria”, pe care îl va gândi în principal, în direct` [i sus]inut`colaborare cu arhitectul ceh.„La Cotroceni, Líman mi-a creat o adorabil` camer` norvegian`,care este marea mea desf`tare pentru care am adunat în acest antoate lucrurile de la München. Deasemenea cele 1000 de m`rcide la tine au fost cheltuite pe obiecte pentru aceast` crea]iepre]ioas`, care-mi umple inima de infinit` satisfac]ie”, îim`rturise[te Principesa Maria mamei sale într-o scrisoare datat`octombrie 1910.5
Spre deosebire de celelalte înc`peri unde dominau stucul aurit(Salonul de aur) [i simili-piatra vopsit` în argintiu (Dormitorulargintiu), aici, în boudoir-ul prin]esei se opteaz` pentru lemnulsculptat de pin (în nuan]e naturale), în panouri, arcade, frize [igrinzi ornamentate cu motive vegetale în entrelacs [i animalefantastice. Ambian]a era inspirat` dup` cum afirm` comanditara de „fer-mele norvegiene”6, dar mai degrab` se pot evoca drept modele,interioarele decorate în lemn ale bisericilor din ]`rile nordice.Shona Kallestrup identific` în decora]ia înc`perii, repereledirecte pentru u[i (lemn [i fier forjat) [i ornamente parietale(lemn), de la bisericile din Faaberg, Thorpe din Hallingdal(ambele în Norvegia) sau Björksta din Västmanland (Suedia),
proposed did not prove to be to Marie’s taste. After a room wasrefurbished in the neo-Louis XIV style, she requested that theplans for her suite be altered and that the rooms be furnished“mostly in the English style.”2 We can detect from the outset theprincess’s desire to rethink the architecture of her own rooms atthe Cotroceni Palace in the style of a turn-of-the-century Britishhome. In that period, it was argued that the ethnic origins of the Englishwere to be found in the Celtic, Saxon and Scandinavian worlds,an idea also taken up by Romilly Allan, an author read byPrincess Marie and Karel Líman. Decorative elements of thisvocabulary could be found in the rooms designed by PrincessMarie for Cotroceni, probably with the intention of developing astyle among whose sources would be her own “roots”. We are unable fully to answer the question of to what extentarchitect Karel Líman was involved in these first forays into inte-rior design on the princess’s part. Of the Green Room (c.1900),Gold Room (1901), Silver Room (1905)3 and Norwegian Room(1910), only the last is still preserved today, and is definitely thework of Karel Líman, as we discover from Princess Marie’s corre-spondence.4 During the ten years in which the four rooms atCotroceni were created, Líman was chiefly involved in the designand construction of Pele[ and Peli[or. The atmosphere of the fourrooms at Cotroceni points to the princess’s as yet undevelopedartistic vision, with the exception of the Norwegian Room, whichwas in fact her boudoir. Her conception of interior design wouldlater crystallise in the form of the “Queen Marie style,” which shedeveloped in direct and continuous collaboration with the Czecharchitect. “At Cotroceni Líman has created for me an adorable Norwegianroom, which is my great delight, and for which I collected all thethings from Munich this year. Likewise the 1,000 Marks from youwere spent on objects for this precious creation, which fills myheart with infinite satisfaction,” Princess Marie confessed to hermother in a letter dated October 1910.5
In contrast to the other rooms, dominated by gilded stucco (theGold Room) and silver-painted imitation stonework (the SilverRoom), in her boudoir the princess opted for carved pine in nat-ural shades, on the arches, friezes and beams ornamented withentrelacs vegetal motifs and fantastic animals. The ambience was inspired, as the princess put it, by “Norwegianfarms,”6 but the decorated wooden interiors of Nordic churchesmay also be cited. Shona Kallestrup identifies the direct influenceof the churches at Faaberg, Thorpe in Hallingdal (both inNorway) and Björksta in Västmanland (Sweden) in the decora-tion of the (wooden and wrought iron) doors and (wooden) wallornaments, albeit on a smaller scale.7 The doors, and probablythe rest of the carved wooden decorations, were made in Viennaat the studios of Bernhard Ludwig,8 who collaborated with Karel
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Líman for decades. The written sources consulted by the princessand her architect were mainly articles on the ecclesiastical archi-tecture of Scandinavia published in The Studio (1897-98), a mag-azine to which the Royal Court subscribed, and the books TheViking Age by Paul B. du Challu (1889) and Early ScandinavianWood-carvings by J. Romilly Allan (1897).9 The architect’s solu-tions drawn upon multiple sources, but the novelty resides in there-sizing, i.e. the reduction in scale, and their placement in asmall rectangular interior with an alcove. A large arch lends mon-umentality to the alcove. To be noted is that in the NorwegianRoom, besides the features from the Celtic and Saxon worldintroduced at Marie’s request, Líman also included a local feature:a peasant hearth. This was an interior design element at which thearchitect was to excel: he went on to furnish Marie’s houses, aswell as King Ferdinand’s hunting lodges, with Romanian stovesof various styles. The woodcarving is emphasised by another ofthe architect’s solutions: a groove that houses a lighting system,creating a deliberately muted illumination in the room.10
The Norwegian Room is certainly the most coherent interiordesigned by Princess Marie in this period,11 and Líman played adecisive rôle in this.
1 Maria Regina României, Povestea vie]ii mele, trans. Margarita Miller-Verghi,ed. Ioana Crac`, Editura Eminescu, Bucharest, p. 24. 2 A.N.IC, Royal House collection, file no. 37/1897 p. 387. p. 6, apud MarianConstantin, Palate [i colibe regale..., p. 143.3 We do not know the name of the architect who, around the year 1900, refur-bished the three rooms in question, to the taste of Queen Marie, marked by theJugendstil and the juxtaposition of Celtic and Neo-Byzantine elements.4 Letter from Princess Marie to her mother Maria Alexandrovna, Duchess ofCoburg. National Archives, Queen Marie collection, document 2268/1910, f.6, apud Marian Constantin, Palate [i colibe regale... , p. 193.5 Scrisoare a Principesei Maria c`tre mama sa Maria Alexandrovna, duces` deCoburg. ANIC, fond Regina Maria, doc. V 2268/1910, f. 6, apud MarianConstantin, Palate [i colibe regale..., p. 193. 6 “After that I sobered down and my next creation was a quaint carved room indull brown wood of the colour of a good cigar. The ceiling was low with heavybeams, the doors heavily decorated with rough iron designs. This room wasinspired by pictures I had seen of Norwegian farmhouses,” in NationalArchives, Queen Marie collection, III/79, pp. 18-19, apud Kallestrup, Art andDesign..., p. 59.7 Kallestrup, Art and Design..., p.60.8 Marian Constantin, Palate [i colibe..., p. 194.9 Kallestrup, Art and Design..., p. 59.10 The restoration work of the 1970s did not keep this lighting system, replacingit with a light fitting hung from the ceiling.11 Kallestrup, Art and Design..., p. 59.
reluate îns` la alt` scar`7. U[ile, probabil [i restul decora]ieisculptate în lemn au fost executate la Viena, în atelierele luiBernhard Ludwig8, colaboratorul fidel al lui Karel Líman timp dedecenii. Documenta]ia pe care prin]esa [i arhitectul au consultat-o era alc`tuit` în principal din articole dedicate arhitecturii reli-gioase a ]`rilor nordice publicate în The Studio (1897, 1898),revist` la care Curtea regal` era abonat` [i volumele The Vikingage (Paul B. Du Challu, 1889) [i Early Scandinavian wood-carvings (J. Romilly Allan, 1897).9 Solu]iile arhitectului pornescde la aceste multiple surse, îns` noutatea const` în redimensio-narea, respectiv mic[orarea acestora [i amplasarea într-un interi-or de dimensiuni reduse, un spa]iu dreptunghiular având un micalcov. O arcad` de mari dimensiuni confer` monumentalitateni[ei. De semnalat este c` în Camera norvegian`, pe lâng` ele-mente ce se circumscriau universului celto-saxon introduse lacererea Mariei, Líman insereaz` [i unul de sorginte local`, o vatr`]`r`neasc`. Este un element de design interior în care arhitectulva excela, el va mobila casele Mariei, dar [i cabanele de vân`toareale Regelui Ferdinand cu variate formule de sobe române[ti.Decora]ia sculptat` în lemn era pus` în valoare printr-o alt`solu]ie a arhitectului, o scaf` ce ad`postea un sistem de iluminatconferind ansamblului atmosfera voit` de penumbr`.10
Camera norvegian` reprezint` cu siguran]` un exemplu coerentîntre interioarele imaginate de Principesa Maria în aceast`perioad`11, contribu]ia arhitectului Líman având un rol decisiv.
1 Maria Regina României, Povestea vie]ii mele, traducere de Margarita Miller-Verghi, edi]ie îngrijit` de Ioana Crac`, Editura Eminescu, Bucure[ti, p. 24. 2 ANIC, fond Casa Regal`, dosar 37/1897 f. 387. f. 6, apud Marian Constantin,Palate [i colibe regale..., p. 143.3 Nu se cunoa[te numele arhitectului care a realizat în jur de 1900 amenajareacelor trei camere numite mai sus, desigur dup` gustul Mariei marcat deJugenstil [i de al`turarea elementelor celtice [i neobizantine.4 Scrisoare a Principesei Maria c`tre mama sa Maria Alexandrovna, duces` deCoburg. ANIC, fond Regina Maria, doc. V 2268/1910, f. 6, apud MarianConstantin, Palate [i colibe regale…, p. 193.5 Scrisoare a Principesei Maria c`tre mama sa Maria Alexandrovna, duces` deCoburg. ANIC, fond Regina Maria, doc. V 2268/1910, f. 6, apud MarianConstantin, Palate [i colibe regale…, p. 193. 6 „After that I sobered down and my next creation was a quaint carved room indull brown wood of the colour of a good cigar. The ceiling was low with heavybeams, the doors heavily decorated with rough iron designs. This room wasinspired by pictures I had seen of Norvegian farmhouses.” in ANIC, fondRegina Maria, III/79, p.18-19, apud Kallestrup, Art and Design..., p. 59.7 Kallestrup, Art and Design..., p.60.8 Marian Constantin, Palate [i colibe..., p. 194.9 Kallestrup, Art and Design..., p. 59.10 Restaur`rile anilor '70 nu au mai reluat acest sistem de iluminat, s-a adoptatatunci solu]ia clasic` a unei surse de lumin` amplasate pe tavan.11 Kallestrup, Art and Design..., p. 59.
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99 THE NORWEGIAN ROOM, COTROCENI PALACE
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103 THE NORWEGIAN ROOM, COTROCENI PALACE
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106 CABANA DE VÂN~TOARE A REGELUI FERDINAND, L~PU{NA
KAREL ZDENÊK LÍMAN
Profilat` pe mun]ii împ`duri]i ai Gurghiului, amplasat` pe unmic platou din Valea Regilor2, casa de la L`pu[na este o con-struc]ie din lemn [i zid`rie, pe soclu de piatr`, în spiritulcabanelor de munte. Reprezint` un alt exerci]iu al arhitectuluiLíman dup` pavilionul de vân`toare de la Javorina, într-uncadru montan similar, în linia arhitecturii vernaculare dinMitteleuropa. Acoperi[urile din [i]`, de diverse în`l]imi, cupante variat înclinate (la apartamentul regelui de mai maridimensiuni) ce corespund volumelor imbricate unele într-altele, configureaz` siluete jucate, amplasate judicios încompozi]ia ansamblului [i în peisaj. În acest joc de planuri [ivolume atrage aten]ia un cheminée cu acoperi[ de mic turn [ifle[` ce marcheaz` spa]iul cheie al edificiului, cel regal.Alternan]a de texturi a materialelor folosite, lemnul (bârne, [i]ade pe acoperi[), piatra de râu, zid`ria (pere]i exteriori) [i a cro-maticii corespunz`toare (brun, gri, alb), contribuie la efectulplastic, specific construc]iilor de la munte.Cabana de dimensiuni relativ mari, dup` cum o demonstreaz`setul de planuri [i schi]e p`strate în Arhiva de planuri a MNP,este conceput` pe dou` nivele, parter, etaj mansardat [i un pod.Aripa principal` a parterului, cu planul în L cu mai multeintr`ri, cuprinde spa]iile cele mai importante: apartamentulRegelui Ferdinand (salon, dormitor cu turn de col] de planpoligonal, baie, anexe), un hall cu scara de acces spre etaj [i osufragerie. La acela[i nivel se mai afl` buc`t`riile [i alte servicii.La etaj sunt amplasate apartamentele pentru suit`. În interiorLíman imagineaz` spa]ii ce amintesc de interven]iile sale laCastelul Bran: arcade [i ni[e semicirculare, zugr`vite cu var alb,coloane sau u[i din lemn de ispira]ie renascentist` [i vernacu-lar` etc. Ceea ce regina numea „a Bran like style”, stilul Bran.Dup` o prim` vizit` pe [antierul cabanei, entuziasmat` de nouacrea]ie a colaboratorului s`u în arhitectur` [i decora]ii inte-rioare, Regina Maria m`rturisea: „Dup` prânz, am vizitat noua cas` care este deja acoperit` [i carese afl` într-o pozi]ie bun`, având în spate p`durea [i mun]ii. Vafi o cas` splendid` cu toate elementele de confort a[a cum le per-cepe Líman atât de bine [i în plus este [i artistic în ce prive[teexterioarele. Majestatea Sa poate fi, fire[te mândru de ea”3,
Set against a backdrop of the forested Gurghiului Mountains,situated on a small plateau in the Valley of Kings,2 the houseat L`pu[na is built of wood and brick on a stone platform, inthe style of an alpine cabin. On Líman’s part it is an exercisesimilar to the hunting lodge at Javorina, in a similar alpinesetting, drawing upon the vernacular architecture ofMitteleuropa. The shingled roofs of varying heights and steep-ness match the interlocking volumes and create a carefullycontrolled overall rhythm within the landscape. In this play ofsurfaces and volumes what draws the attention is a chimneywith a small tower roof and spire that marks the key room ofthe building, the royal suite. The alternation in the textures ofthe materials used, wood (beams, shingles) and boulders(exterior walls), and the corresponding colours (brown, grey,white), contributes to the pictorial effect, typical of alpinestructures.The cabin was relatively large, as can be seen from the set ofplans and drawings kept in the archives of the Pele[ NationalMuseum, and had two storeys: a ground floor and an upperfloor with a mansard and attic. The main wing of the groundfloor, which was L-shaped and had a number of entrances,housed the most important rooms: King Ferdinand’s suite(salon, bedroom with a polygonal corner tower, bathroom,annexes), a hall with a staircase to the upper floor, and a din-ing room. On the same floor there were also kitchens andother utility rooms. On the upper floor were suites for the ret-inue. For the interior Líman designed spaces reminiscent ofhis work at Castle Bran: whitewashed arches and semi-circularalcoves, columns, Renaissance- and vernacular-inspiredwooden doors. It was in what the Queen described as “a Bran-like style.”After a first visit to the building site for the lodge, enthused byher architect’s latest creation, Queen Marie wrote: “After lunchI visited the new house, which is already roofed and which isin a good location, with the forest and mountains behind. Itwill be a splendid house with all the comforts that Líman is sogood at and what is more it is artistic when it comes to theexteriors. His Majesty will naturally be proud of it.”3
Cabana de vân`toare a Regelui Ferdinand, L`pu[na, (jude]ul Mure[)1 1925-1926
The Hunting Lodge of King Ferdinand, L`pu[na, (Mure[ County)1 1925-1926
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107 THE HUNTING LODGE OF KING FERDINAND, L~PU{NA
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Mul]umirea reginei era cu atât mai mare, cu cât [tim c` înaceea[i perioad` activitatea intens` a arhitectului se desf`[uraatât la Castelul Bran, cât [i pe alte [antiere (Palatul PrincipeluiCarol din {oseaua Kiseleff, interven]iile la Castelul Peli[or, pla-nuri pentru alte cabane sau case etc., care vor fi puse în oper`sau nu).
1 Terenul se afl` la 815 m peste nivelul m`rii, la 45 km de Reghin [i 75 km deTârgu Mure[, nu departe de limita jude]elor Mure[ [i Harghita.2 Denumirea este dat` de localnici în perioada interbelic`, cea oficial` fiindValea Gurghiului.3 Maria Regina României, Însemn`ri zilnice, 1926...., p. 241-242.
The Queen’s satisfaction was even greater given that weknow that in the same period her architect was very busy atCastle Bran and other building sites (the palace for PrinceCarol on the Chaussée Kiseleff, the alterations at CastlePeli[or, designs for other cabins and houses, not all of whichwere constructed).
1 The plot is 815 m above sea level, 45 km from Reghin and 75 km fromTårgu Mure[, not far from the county line between Mure[ and Harghita.2 This is the name given to it in the inter-war period by locals, the officialname being Gurghiului Valley.3 Maria Regina României, Însemn`ri zilnice, 1926..., pp. 241-2
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Castelul Pele[, Domeniul regal Pele[, Sinaia (1894-1914)
Castle Pele[, Pele[ Royal Estate, Sinaia (1894-1914)
Transform`rile operate de c`tre Líman timp de dou` decenii(1894-1914), vor schimba radical imaginea cl`dirii, de la cea aunui mic castel de munte (1873-1883) – opera arhitectuluiJohannes Schulz [i a ebenistului Martin Stöhr1 – într-o con-struc]ie monumental` ce reflecta gustul comanditarului, evolu-at în timp spre o formul` de pluralism stilistic. Ele subliniaz`totodat` [i noua pozi]ie politic` a României în Europa, urmareo proclam`rii regatului (1881). Castelul Pele[, de[i pe de oparte re[edin]` privat`, fusese destinat de la inaugurare,reprezent`rii de stat, nu doar loisir-ului, îns` abia acum, prinnoua imagine conferit` de proiectele [i ideile lui Karel Líman,cl`direa avea s` exemplifice cu adev`rat viziunea Regelui Carol I. Castelul Pele[ simboliza leag`nul dinastiei [i stabili-tatea modelului politic [i cultural propus de comanditar. În plan financiar, aceste importante interven]ii ale lui Líman,încurajate constant de rege, au implicat investi]ii importante ceproveneau din mo[teniri personale ale lui Carol I, precum [i dinuzufructul exploat`rii Domeniilor Coroanei constituite în1884. Timp de [ase luni pe an – din mai pân` în octombrie –regele semna aici decrete [i documente, iar curtea se muta laSinaia. Karel Líman [i echipa sa aveau a[adar în general [aseluni pe an, toamna [i iarna, pentru a pune în oper` de multeori, în condi]ii dificile, planurile elaborate de el.Amintim aici faptul c` Líman a lucrat concomitent, în interva-lul 1899-1903 [i 1905-1910, pentru castelele Pele[ [i Peli[or,având doi comanditari exigen]i, pe rege [i pe principesamo[tenitoare, comanditari cu viziuni diferite despre ideea delocuire, despre caracterul oficial [i de loisir al unei re[edin]e,filosofii ce se reg`seau în concep]ia lor despre arhitectur`. În semn de apreciere a eforturilor depuse de Karel Líman, regeleîi va acorda importante decora]ii de merit de-a lungul anilor.Urmând o tradi]ie medieval`, Regele Carol I va aproba [i inse-rarea portretelor autorilor – arhitectul Líman [i decoratorulBernhard Ludwig – pe scara în spiral` din Hall-ul de onoare,spa]iul cel mai reprezentativ al re[edin]ei. Cu ocazia anivers`rii semicentenarului Castelului Pele[ (1933)[i la împlinirea a trei ani de la moartea arhitectului ceh, istoriculde art` Alexandru Tzigara-Samurca[ eviden]iaz` în mod special
The alterations carried out by Líman over the course of twodecades (1894-1914) were to change the look of the buildingradically, changing it from a small alpine castle (1873-1883), thework of architect Johannes Schulz and cabinetmaker MartinStöhr,1 to a monumental structure that reflected the client’s tastes,which had in the meantime evolved toward stylistic pluralism.The alterations also underlined Romania’s new political positionwithin Europe, subsequent to the proclamation of the Kingdomin 1881. Castle Pele[, although a private residence, had also beenintended since its inauguration as a state building, but it was onlynow, thanks to the new image conferred upon it by Karel Líman’sdesigns and ideas, that it could truly embody the vision of KingCarol I: Castle Pele[ symbolised the cradle of the dynasty and thestability of his political and cultural model. At the financial level, Líman’s major alterations, constantlyencouraged by the King, involved major investments, paid forfrom the personal wealth of Carol I and revenues from the CrownDomains, established in 1884. For six months of the year, fromMay to October, the King resided at Pele[, where he signeddecrees and other documents of state, and his court moved toSinaia. Karel Líman and his team spent six months of the yearthere, in autumn and winter, putting into effect the plans he haddrawn up, often in difficult weather conditions. We should also note that in the periods 1899-1903 and 1905-1910 Líman also worked on Castle Peli[or in parallel toCastle Pele[, for two separate and equally demanding clients, theKing and the Crown Princess, each of whom had a differentvision of the official/loisir functions of a residence, springingfrom their separate architectural philosophies. In token of his appreciation for Karel Líman’s work, the Kingawarded him a number of decorations over the years. Followinga mediaeval tradition, King Carol I ordered that portraits of archi-tect Líman and decorator Bernhard Ludwig had to be carved onthe spiral staircase in the ceremonial hall, the residence’s mainreception area. On the fiftieth anniversary of Castle Pele[ in 1933, and on thethird anniversary of the death of the Czech architect, art historianAlexandru Samurca[ spoke of Líman’s achievement and his rela-
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contribu]ia acestuia [i raporturile cu regalul comanditar:„Constantul colaborator îns` în m`rirea [i prefacerea castelului[i a cl`dirii numeroaselor anexe a fost arhitectul Cur]ii KarelLíman, care ajunsese s` în]eleag` [i s` execute întocmaiinten]iile regale. Carol I vizita aproape zilnic biroul de arhitec-tur` [i urm`rea lucr`rile de lemn`rie din ateliereledependin]elor din Palat”.2 În continuare, Samurca[ apreciaz`Castelul Pele[ drept un monument reprezentativ la nivel euro-pean, al Neo-Rena[terii germane.3
Planurile [i detaliile de execu]ie au primit pân` spre 1904 [iavizul arhitectului André Lecomte du Noüy, consilierul peprobleme de arhitectur` al Regelui Carol I. Ini]ial, numele arhi-tectului francez este pus frecvent în leg`tur` cu o serie de edificiiconstruite pe Domeniul regal, ulterior, post 1904, Líman îi valua locul. În vederea amplific`rii suprafe]ei castelului, terenul înpant` situat în spatele cl`dirii a trebuit stabilizat cu ziduri [iterase solide din piatr`.Proiectul lui Líman aduce o modificare de ansamblu apropor]iilor, a în`l]imii, a suprafe]elor, dar [i o diversificare înarhitectura [i în decora]ia de interior în sensul pluralismuluistilistic deja amintit. La exterior, Líman formuleaz` o variant`exuberant` a Neo-Rena[terii, ce presupune grefarea unor ele-mente de origine italian` pe elemente de arhitectur` german`. Solu]iile sale pornesc în principal de la monumentegermane de Rena[tere (din Nürnberg, Augsburg, Rothenburg ander Tauber, Bremen, Lübeck), aceste surse fiind propuse de rege.Faptul c` scenografia noilor fa]ade las` s` transpar` vechiuldesen din etapa Schulz, trebuie privit drept un element de con-tinuitate. Silueta general` a castelului – solid ancorat` în sol, profilat` pecrestele de piatr` ale mun]ilor Bucegi [i înconjurat` de p`duri –este marcat` de volumetria jucat` a acoperi[urilor ce contribuiela întregirea compozi]iei. Plastica fa]adelor castelului propune o „tem` a turnului”.Líman amplific` cele trei turnuri existente în vechiul Pele[atribuindu-le identitate, o logic` [i o estetic`. Situat în zonamedian` a fa]adei principale, de sec]iune p`trat`, turnul princi-pal cu ceas – cel mai înalt dintre volume – reprezint` pivotulcentral al compozi]iei. Acesta ad`poste[te mai multe spa]ii,între care [i camera arhitectului Lecomte du Noüy, încheindu-se la ultimul nivel cu o galerie deschis`, ce permite ovedere la 180 de grade a peisajului pitoresc. Cel de-al doileaturn amplasat pe col]ul de sud-est, este de sec]iune circular` (laparter, parter înalt [i etajul I) [i hexagonal` (la ultimele dou`nivele), o solu]ie plastic` ingenioas`. Un al treilea turn circular,plasat ini]ial pe col]ul de nord-est, a devenit la Líman pies` cen-tral` a fa]adei de est, pe care o prelunge[te spre nord. La nivelulfa]adei principale (de sud), raportul final dintre volumul prin-cipal orizontal [i primele dou` turnuri încheiate cu fle[e, devine
tionship with his royal patron: “The constant collaborator, how-ever, in the extension and transformation of the castle and itsnumerous annexes was Court Architect Karel Líman, who hadcome to understand and carry out the royal wishes to the letter.Carol I visited the architectural bureau almost daily and followedprogress on the woodwork in the Palace workshops.”2 Samurca[goes on to praise Castle Pele[ as a monument of the German neo-Renaissance that is of European importance.3
Around 1904, the plans and details received the approval ofarchitect André Lecomte du Noüy, the King’s architectural advis-er. The French architect’s name was frequently linked to buildingsconstructed on the Royal Estate, but after 1904 Líman came to thefore. With a view to enlarging the surface area of the castle, the slopingground behind the building had to be stabilised using walls andsolid stone terraces. Líman’s design altered the overall propor-tions and height of the castle, as well as diversifying its architec-ture and interior decoration. For the exterior, Líman came upwith an exuberant version of the neo-Renaissance style, whichinvolved grafting Italian features onto elements of German archi-tecture. His solutions are in the main derived from GermanRenaissance monuments from Nuremberg, Augsburg, Rothen-burg an der Tauber, Bremen, Lübeck, sources suggested by theKing. The fact that the façades allow the old design from theSchulz phase to show through should be viewed as an element ofcontinuity. The general outline of the castle – solidly anchored in the ground,framed by the stony crests of the Bucegi Mountains and sur-rounded by forests – is marked by the volumetry of the roofs,which sets off the composition as a whole. The castle’s façades put forward the “tower theme”. Límanemphasises the three existing towers, lending them an identity,logic and aesthetic. Situated in the middle area of the mainfaçade, the square clock tower – the highest of the volumes – isthe central pivot of the composition. It houses a number ofspaces, including the room of architect Lecompte du Noüy, andis topped with an open gallery that allows a 180-degree view ofthe surrounding landscape. The second tower, situated on thesouth-east corner, is circular on the ground floor, upper groundfloor and first floor, and hexagonal on its top two storeys, aningenious spatial solution. A third, circular tower, originally situ-ated at the north-east corner, became Líman’s centre piece for thenew east façade, an extension of the north façade. On the main,south-facing façade, the final balance between the main horizon-tal volume and the two spired towers becomes an expression ofthe compositional harmony sought by the architect. From the old Pele[, Líman preserved the solutions typical of theGerman neo-Renaissance, the Fachwerk of the upper floors hous-ing the suites (the first and second floors and the mansard). On
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Plan etaj – etapa Liman (1894-1914) / First-floor plan –Líman phase (1894-1914)
Plan parter – etapa Líman (1894-1914) / Ground-floor plan – Líman phase (1894-1914)
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Curtea de onoare / Ceremonial courtyard
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Poarta regilor / The door of kings
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Portretul lui Karel Líman amplasat pe scara \n spiral` / Portrait of KarelLíman placed on the spiral staircase
Scara \n spiral` dup` un original aflat la prim`ria din Bremen / Spiralstaircase, copy of the staircase in the town hall at Bremen
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Tapiserii din atelierele Gobelin, dup` desene de Francois Boucher, la etajul I / Tapestries from the Gobelin studios, afterdrawings by François Boucher, on the first floor
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Castelul Peli[or, Re[edin]a de var` a regelui Ferdinand I [i a reginei Maria, domeniul regal, Pele[, Sinaia (1899-1903)
Castle Peli[or, the Summer Residence in Sinaia of King Ferdinand I and Queen Maria, on the Pele[ Royal
Estate, Sinaia (1899-1903)
În memoriile pe care regina Maria le-a redactat [i publicat lavârsta maturit`]ii1, suverana î[i amintea cu nepl`cere de aspec-tul rece [i aparent auster al re[edin]elor regale din jurul anului1890. Maria de Saxa-Coburg-Gotha (1875-1938), duces` deSaxa [i principes` a Marei Britanii [i Irlandei, era obi[nuit` dincopil`rie cu confortul c`minelor engleze[ti. În ceea ce priveadecora]ia de interior a Palatului Regal de pe Calea Victoriei dinBucure[ti, re[edin]a de iarn` a regelui Carol I sau a CasteluluiPele[ de la Sinaia, re[edin]a regal` estival`, tân`ra principes`mo[tenitoare a României a f`cut un efort de adaptare la ceea ceea numea „stilul Alt-Deutsch”, pe care îl respingea funciar.La Sinaia, tân`ra principes` Maria a sosit pentru prima oar` în
In the memoirs that Queen Marie wrote and published late inlife, the sovereign recalls with displeasure the cold and seem-ingly austere appearance of the royal residences around theyear 18901. Marie of Saxe-Coburg-Gotha (1875-1938),Duchess of Saxe and Princess of Great Britain and Ireland, hadfrom childhood been used to the comfort of English homes. Inregard to the interior decoration of the Royal Palace on CaleaVictoriei in Bucharest, which was the winter residence of KingCarol I, and Castle Pele[ in Sinaia, the royal summer residence,the young crown princess of Romania had to make an effort toadapt to what she called the “Alt-Deutsch style,” one that shefound repellent. The young Princess Marie arrived in Sinaia for the first time inthe summer of 1893, accompanied by her husband, the CrownPrince Ferdinand of Hohenzollern (1865-1927), the futureKing Ferdinand I of Romania (1914-1927). They spent theirfirst summer holiday together there, and the old King Carol,who was proud of Pele[, his dearest foundation, was at painsto provide the heirs to the throne with the best suite in the cas-tle, the main guest suite on the first floor of the south wing. Itwas in that eclectic setting – created by the interior decorationfirm of Isaac Daniel Heymann from Hamburg, who, at the sov-ereign’s behest and under the guidance of his chief artisticadviser, Martin Stöhr, the Sculptor to the Royal Court, had cre-ated a Neo-Renaissance German ambience – that they spenttheir first sojourn in the resort at the foot of the BucegiMountains. It was also here that the Crown Princess Marie wasto give birth, on 16 October 1893, to Prince Carol (1893-1953), the future King Carol II of Romania (1930-1940).But the accommodation of the young princely family in themost spacious suite of Castle Pele[ was only a temporary solu-tion: the guest requirements of the royal residence, on the onehand, and the young Ferdinand and Marie’s need for privacyand their own home, on the other, led King Carol to give uphis old hunting lodge, named the Foi[or, which lay not farfrom Pele[. It is highly likely that with a view to adapting thesmall chalet, the services of the interior decoration firms with
Principele Ferdinand în loggia camerei de aur / Prince Ferdinand onthe loggia of the Gold Room
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vara 1893, în compania so]ului ei, principele mo[tenitorFerdinand de Hohenzollern (1865-1927), viitorul regeFerdinand I al României (1914-1927). Ei [i-au petrecut primavacan]` de var` împreun`, iar b`trânul rege Carol, atât de mân-dru de Pele[, ctitoria sa cea mai drag`, s-a str`duit s` oferemo[tenitorilor tronului cel mai bun apartament din castel,apartamentul principal pentru oaspe]i, aflat la etajul I pe latu-ra de sud. În acel cadru eclectic, realizat de firma de decora]iuniinterioare Isaac Daniel Heymann din Hamburg (Germania),care crease la cererea suveranului [i a principalului s`u consili-er artistic – sculptorul Cur]ii regale Martin Stöhr, un ambientde sorginte neo-renascentist` german`, s-a desf`[urat primulsejur în sta]iunea de la poalele Mun]ilor Bucegi. Tot aici,principesa mo[tenitoare Maria avea s` dea na[tere, la 16 octombrie 1893, principelui Carol (1893-1953), viitorulrege Carol al II-lea al Românei (1930-1940).Îns` amplasarea tinerei familii princiare în cel mai spa]iosapartament al Castelului Pele[ nu a fost decât o solu]ie tranzi-torie: necesit`]ile de reprezentare [i g`zduire a re[edin]ei regalepe de o parte, precum [i nevoia de intimitate [i de un c`minpropriu al tinerilor Ferdinand [i Maria, l-au determinat peregele Carol s` renun]e la folosirea vechiului pavilion devân`toare numit „Foi[or”, aflat nu foarte departe de Pele[, înfavoarea principilor mo[tenitori. Este foarte probabil ca în ve-derea schimb`rii destina]iei micului chalet, s` se fi recurs la ser-viciile unor firme de decora]iuni interioare cu careAdministra]ia Casei regale colaborase pân` atunci, precumfirma citat` mai sus sau firma August Bembé din Mainz(Germania). În perioada de redactare a primei monografii aCastelului Pele[ [i a re[edin]ei regale de la Sinaia (1892-1893)de c`tre bibliotecarul regelui Carol I – elve]ianul Léo Bachelin,autorul monografiei, aminte[te de lucr`rile de m`rire ale ve-chiului Pavilion de vân`toare, realizate dup` proiectelearhitec]ilor Eisenlohr [i Weiglé din Stuttgart (Germania).2
Astfel, din vara anului 1894, Foi[orul a devenit re[edin]a esti-val` a principilor mo[tenitori, unde avea s` se nasc`, la 12 octombrie 1894, cel de al doilea copil al cuplului,principesa Elisabeta (1894-1956), devenit` prin c`s`torie regi-na Greciei. În anii urm`tori, principii mo[tenitori aveau s`foloseasc` Foi[orul, îns` [i aceast` solu]ie a fost una tranzitorie– îndat` ce condi]iile financiare au fost prielnice, regele Carol Ia comandat pentru viitorii suverani o nou` re[edin]` de var`,foarte aproape de Pele[, ce avea s` fie amplasat` chiar pe cursul unui mic pârâu, afluent al râului Pele[ – Peli[orul, deunde [i numele viitoarei re[edin]e.Din analiza documentelor din Arhiva Biroului regal deArhitectur` de la Sinaia, precum [i a unor gravuri din jurulanilor 1885-18933 observ`m o mare similitudine între planulla sol al primei cl`diri administrative a Domeniului regal, Casa
which the Administration of the Royal House had previouslyworked with were now called upon. These firms includedAugust Bembé from Mainz. The librarian to King Carol I, SwissLéo Bachelin, who drew up the first monograph of Castle Pele[in 1892-3, writes that work on extending the old hunting lodgewas being carried out by architects Eisenlohr and Weiglé fromStuttgart at the time of his writing.2 Thus it was that in the sum-mer of 1894 the Foi[or became the summer residence of theheirs to the throne, where Princess Marie was to give birth totheir second child on 12 October 1894, the Princess Elisabeth(1894-1956), who became Queen of Greece by marriage. Inthe years that followed the royal couple were to stay at theFoi[or, but this too was a temporary solution, and as soon asfinancial circumstances allowed, King Carol I ordered a newsummer residence for the future king and his wife, very nearPele[, on the bank of the Peli[or Stream, which flowed into thePele[ River, whence the name of the future residence. An analysis of the documents in the Archive of the RoyalArchitectural Bureau at Sinaia and of engravings from the peri-od 1885-933 reveals the great similarity between the plans ofthe first administrative building of the Royal Estate, the Houseof the Economy (or Economat), designed in the same periodas Castle Pele[ by architect Johannes Schulz. Although thelandscape around the building has changed greatly, betweenthe period when the first Economat was finished and CastlePeli[or was completed the changes were not fundamental,however. The changes came later, perhaps after 1910, when thesurroundings of Peli[or were altered with the planting of thetrees that today, a century later, create a major visual break inthe landscape, between the access lane to the terraces of Castle
Oaspe]i ai Familiei Regale pe terasele Peli[orului / Guests of theRoyal Family on the terraces of Peli[or
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Fa]ada de est / East façade
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Unghiul de sud-est cu turnul central [i loggia / South-east corner with the central tower and loggia
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Galeria de la etajul I / First-floor gallery
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Intrarea în sufragerie / Entrance to the dining room Micul salon circular din sufragerie / Small circular salon in the dining room
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Plafon al salona[ului circular / Ceiling of the circular room
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Bolta încheiat` cu crucea celtic` din Camera de aur, atelier Bernhard Ludwig / Vault capped with a Celtic cross, in the GoldRoom. Bernhard Ludwig studio
Aspect din Camera de aur / The Gold Room
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Camera de aur. Mobilier din lemn aurit executat dup` desenele Principesei Maria/ The Gold Room. Gilded wooden furniture made to the designs of Princess Maria
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Cl`direa aflat` în apropiere de pârâul Pele[, ce curge în stânga,face parte dintr-un ansamblu de cl`diri administrative aleDomeniului regal, fiind amplasat` în imediata vecin`tate aCorpului de gard`, a Economatului [i a Garajelor noi. Cl`diri cuarhitectur` de tip Fachwerk, ele sunt construite în jurul uneipia]ete dup` tipicul a[ez`rilor germane medievale. Proiectat` dec`tre Karel Líman, casa a fost destinat` înc` de la bun început ag`zdui biroul regal de arhitectur`, dar [i locuin]a de serviciu aarhitectului [ef. Din 1929, de la moartea lui Líman, apartamen-tul a fost preluat de c`tre succesorul s`u, arhitectul Jean Ernest.Casa proiectat` c`tre 1900 a suferit modific`ri ulterioare, pro-babil c`tre 1908-1909. Într-o prim` etap`, dup` cum se poateconstata dintr-o fotografie conservat` în arhiva arhitectului,cl`direa se compunea dintr-un volum compact cu trei niveleparter, etaj [i mansard`, de plan dreptunghiular având dou`intr`ri, deservind fiecare câte unul din nivele principale.Ulterior cl`direa a fost amplificat` prin ad`ugarea unui nouvolum de plan trapezoidal neregulat, având tot atâtea nivele ca[i cel originar. Corpul cel nou, alipit se distinge printr-o ampl`teras` construit` peste un garaj, peste care s-a ad`ugat un altvolum restras fa]` de restul cl`dirii. Este terasa pe care Líman, intrat de curând în serviciul noilorsuverani, se las` fotografiat în 1915, albit [i cople[it de gânduri,c`ci dup` moartea lui Carol I [i declan[area Primului R`zboiMondial, se profila un viitor incert.Silueta armonioas` a cl`dirii se compune dintr-un joc de treivolume compacte, imbricate, surmontate de acoperi[uri înpant` [i balcoane mansardate. Densitatea semnificativ` a decora]iei o întâlnim la parter pe u[ile garajului, ornate cubasoreliefuri inspirate din lumea basmelor germane sau altemotive provenind din universul Neo-Rena[terii germane(atlan]i, ni[e decorative etc.).
Casa Arhitectului, Domeniul regal Pele[, Sinaia (c. 1900; 1908-1909)
The Architect’s House, Pele[ Royal Estate, Sinaia (c. 1900; 1908-1909)
The building, by the Pele[ Stream, is one of the administrativebuildings on the Royal Estate, and is situated in the immedi-ate vicinity of the Guardhouse, Economat and New Garages.The Fachwerk buildings stand around a small square, in themanner of a German mediaeval burg. Designed by KarelLíman, the building was intended from the outset to housethe Royal Architectural Bureau and to serve as a residence forthe chief architect. In 1929, the year of Líman’s death, theapartment was taken over by his successor, Jean Ernest. Designed around 1900, the house was later altered, probablyaround 1908-09. As may be observed in the photograph pre-served in the architect’s archive, in the first phase the buildingwas a compact rectangular volume with three storeys – aground floor, first floor and mansard – and had two entrances,one for each of the main levels. Later the building was extend-ed, with the addition of an irregular trapezoidal volume, whichhad as many storeys as the original structure. The new winghad a large terrace over a garage, above which was addedanother volume set back from the rest of the building.This is the terrace on which Líman, was photographed in1915, white-haired and pensive, after the death of King CarolI and the outbreak of the First World War. The building’s harmonious outline is made up of three inter-locking, compact volumes, capped by sloping roofs andmansarded balconies. The main density of the decoration is tobe found on the ground floor, on the doors of the garage,which have bas-reliefs inspired by German fairy tales, and inother motifs from the German Neo-Renaissance (Atlases, decorative niches, etc.).
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179 THE ARCHITECT’S HOUSE, PELE{ ROYAL ESTATE
KAREL ZDENÊK LÍMAN
Casa Arhitectului a[a cum se prezenta c`tre 1900 / The Architect’s House around 1900
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180 CASA ARHITECTULUI, DOMENIUL REGAL PELE{
KAREL ZDENÊK LÍMAN
Schi]` de fa]ad` / Drawing for the façade Fa]ada dinspre Castelul Peli[or, desen / The façade facing Castle Peli[or, drawing
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181 THE ARCHITECT’S HOUSE, PELE{ ROYAL ESTATE
KAREL ZDENÊK LÍMAN
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212 MARIA REGINA ROMÂNIEI: GÂNDURI {I IMPRESII LA MOARTEA ARHITECTULUI KAREL LÍMAN
KAREL ZDENÊK LÍMAN
Maria Regina României: Gânduri [i impresii la moartea arhitectului Karel Líman1
Queen Marie of Romania’s thoughts about architect Karel Líman on his death1
Duminic`, 28 iulie 1929, Sinaia
…Întreaga zi am fost întristat` de vestea proast` despre Liman. Elchiar pare c` se duce. Pentru mine aceasta este o mare durere.Ceea ce apreciez la el, dincolo de slujitorul devotat, este prietenul[i extraordinarul aliat, cu talentul s`u de neînlocuit [i dragostealui pentru Bran, acea dragoste ce ne-a unit atât de mult.(...).Prieten drag, onest, credincios [i adesea ]âfnos! Mi-a fost întot-deauna team` de aceast` desp`r]ire [i acum iat-o aici [i noi n-amterminat lucrarea noastr`. El era ata[at Branului din toatepunctele de vedere, iar dragul meu cuib de vultur nu va mai finiciodat` la fel f`r` el. Parte din spiritul locului a plecat odat` cuel, micul vr`jitor ocupat care a locuit între zidurile castelului, ainventat o mie de feluri pentru a-l îmbun`t`]i [i l-a f`cut \ntrutotul locuibil. El e cel care a g`sit spa]iu acolo unde p`rea s` nufie niciun pic de loc [i care, de fiecare dat`, avea un nou plan, vreonou` descoperire pe care s` mi le arate.Da, îmi va lipsi profund; odat` cu el ceva a disp`rut [i din via]amea.Ba mai mult, era leg`tura cu trecutul, una din ancorele mele [i unadev`rat b`trân lupt`tor care putea ]ine la distan]` invazivul„viitor”. Eram alia]i naturali, ]ineam cu din]ii de „ceea ce a fost”.Talentul lui era mare [i era un geniu al aranjamentelor de interi-or practice [i doream de asemenea s` facem împreun` sala de balde la Cotroceni. Ce i-ar mai fi pl`cut s` fac` asta!Ei bine, s-a dus. Durerea [i regretele mele nu îl vor aduce înapoi.Avea 75 de ani [i l-am avut o lung` perioad` de timp. Am lucratmân` în mân`, i-am îndulcit ultimii ani, de asta sunt sigur`.Branul a dat un nou sens vie]ii lui.Sinaia a trecut în mâinile altcuiva, el s-a separat moral de Sinaia,inima [i sufletul s`u erau la Bran [i în cele din urm` a locuit acolo,în mica sa camer`, trei sferturi din an. |l iubea, era st`pân [i puteada frâu liber geniului s`u pentru munc` [i crea]ie imaginativ`.Tocmai pentru c` probabil f`cea lucrurile încet, pu]in câte pu]in,a f`cut astfel încât lucrarea s` fie interesant` [i întotdeauna plin`de atrac]ii [i speran]`.
Sunday July 28th 1929, Sinaia
My whole day was saddened by very bad news of Liman, hereally seems to be going. To me this is a real grief. I lose in himmore than a devoted servant, a friend and a tremendous allybesides his irreplaceable talent, his great love of Bran, thatshared love that united us so closely.Honest, faithful and often cross old friend. I have always trem-bled before this parting, now it is there and we had not finishedour work. He was bound up with Bran in every way and my oldeagle’s nest will never be the same again without him. Some ofthe spirit of the place has gone with him, the busy little wizardwho lived within the walls and invented a thousand ways toimprove it and make it livable in every way. Who found spacewhere there seemed to be none, and who each time I came hadsome new plan, some new discovery to show me.Yes, I shall miss him deeply, something with him has been cut
Regina Maria în Camera de gard` a Castelului Bran / QueenMarie in the Guard Room of Castle Bran
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KAREL ZDENÊK LÍMAN
Ultima lui fapt` a fost apa. Ei bine, acum avem ap` în tot castelul.Asta a mai tr`it s-o vad` [i s` vad` încântarea mea fa]` de aceastarealizare.Sfâr[it! Trebuie s` pun cruce acestei colabor`ri stimulatoare [ifericite [i s` continui f`r` el. Inima mea nu va uita niciodat`munca lui, iar numele lui îl voi pomeni cu gratitudine, spiritul luiva fi întotdeauna cu mine în interiorul vechilor pere]i.Lisabetha mi-a în]eles durerea, dar a preferat s` o lase pe Cella s`mearg` cu mine.Dragul castel este plin de flori, atmosfera este agreabil` [i te sim]ica acas`. Am citit mult împreun` dup` care am cinat în od`i]amea. Lumina electric` reprezint` un mare confort, la fel [i apadespre care nu pot spune cât de mult înseamn`. Dar m` simt ca [i cum steagul meu este în bern`.
out of my life. Besides, he was a link with the past, one of myanchors, and a real old fighter who could keep the invading“future” at bay. We were natural allies, we hold fast onto “thehad been”. His talent was great and he was a genius for practi-cal inner arrangements and we also still meant to make myCotroceni bed room together. How he would have enjoyedmaking that.Well he is gone! My grief and regret will never bring him back.He was 75 and I had him a long time, we worked hand in hand,I sweetened his last year, this I know. Bran gave him a new senseof life.Sinaia had gone over into other hands, he had morally beenseparated from Sinaia, his heart and soul were in Bran and hefinally lived here in his little room three quarters of the years.He loved it and was master and could let his genius for workand an imaginative creation free play. Just because we had to dothings slowly and little by little made the work interesting andalways full off new interest new hope.His last feat was the water. Well now we have water in all thecastle this he only just lived to see & to see my pleasure at thishappy achievement.Finis! I must make a cross on that stimulating and happy col-laboration and must go forward without him. My heart willnever forget his work and his name will be remembered by mewith gratitude, his spirit will always live with me, within the oldwalls. Lisabetha understood my grief, but she preffered to let Cella togo with me alone.The dear little castle is full of flowers, it is quaintly cosy andhome-like, we read a lot together and supped in my little room.The electric light is a great comfort as to the water I cannot evensay how much that means.But I felt like flying my flag half mast.
Monday July 29th 1929, Bran
Off to Bran as early as I could get off taking Lisabetha and Cellawith me, followed by faithful Zwiedy. Alas with heavy rain. Itwas clearer along the Bra[ov Bran side but rain followed us. Itwas horribly sad to reach the dear castle knowing that there wasno more old Liman there to greet us that he was dying in theBra[ov sanatorium. Passing his room of which the door wasclosed I had a cruel feeling of “vorbei”. I had several times tele-phone messages! I had said that if he became conscient I wouldgo to him, but I preferred to remember him full of life and talkas I had seen him ten days ago that to stand beside his bed tosee a long and struggling last battle where I could be of no pos-sible help nor comfort. At 5 we received the news that he wasdead….
Regina Maria „up on the roof", pe terasele castelului Bran / BranQueen Marie, “up on the roof”, Castle Bran
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214 MARIA REGINA ROMÂNIEI: GÂNDURI {I IMPRESII LA MOARTEA ARHITECTULUI KAREL LÍMAN
KAREL ZDENÊK LÍMAN
Cella and I drove there with flowers of Bran, his beloved Bran…He lay there small and peaceful still very yellow with his thickwhite hear and sunken eye . A faithful servant who worked tothe very last day, worked passionately and longed to live so asto go on working and especially to finish his last love: Bran.
Thursday, July 30th 1929, Bran
All day long I carried the thought of my old Liman about withme. With Zwiedy and Schnell I reviewed all my possessions andwent into details of all the work that was in hand and the plansmy relentless old worker had for the future. One especially Ishall abandon. I had never quite agreed to it, but Liman wasstudying the question. He want to enlarge the place in front ofthe castle when one drives up by blasting part of the rock andplanned building a sort of portal over which there would be anapartment for the guardian of the castle. It would have been abig expense and I do not know that I would have liked it,although no doubt Liman would have made an attractive, prac-tical and artistic building out of it. But it would have let it toofar. The “dependences” below must of course all be finished offand carried out as planned because they give us the entire placenecessary for servants and followers. But all the time my heartached, I shall carry on and finish everything, but I shall neverfeel the same gusto again. But for all that I need to make a com-plete work in every way if God wills.
1 Regina Maria, Însemn`ri zilnice, 1929, National Archives, Queen Marie collection, roll 478, pp. 123-128.
Luni, 29 iulie 1929
Plecare la Bran de îndat` ce am putut, luându-le pe Lisabetha [iCella cu mine, urmate de credinciosul Zwiedy, în pofida ploiidese. S-a mai luminat pe parcurs spre Bra[ov [i Bran, dar ploaiane-a înso]it. Era groaznic de trist s` ajungem la dragul nostru cas-tel [tiind c` acolo nu mai era Líman s` ne întâmpine deoarece erape patul de moarte la sanatoriul din Bra[ov. Trecând pe lâng`camera lui a c`rei u[` era închis`, am avut un dureros sentimental „vorbei”. Am l`sat mai multe mesaje telefonice. Spusesem c`,dac` ar fi con[tient m-a[ duce la el, dar am preferat s` mi-lamintesc plin de via]` [i s`-i vorbesc a[a cum îl v`zusem cu zecezile în urm` decât s` stau lâng` patul lui ca s` v`d o lung` [iîndârjit` lupt` final`, în care eu nu a[ putea fi de niciun ajutor sauconsolare. La 5 am primit vestea c` murise...Cella [i cu mine am plecat încolo cu flori de la Bran, castelul luiîndr`git...Z`cea acolo mic [i lini[tit, foarte galben, cu p`rul lui alb [i stufos,cu ochii în fundul capului. Un slujitor credincios care a lucratpân` în ultima zi; a lucrat cu pasiune [i tânjea s` tr`iasc` pentrua-[i continua munca, mai ales ca s` termine ultima lui pasiune:Branul.
Mar]i, 30 Iulie 1929
Toat` ziua gândurile mi-au fost ocupate cu dragul Líman. Împre-un` cu Zwiedy [i Schnell am trecut în revist` toate propriet`]ilemele [i am analizat în detaliu toate lucr`rile care erau în curs [iplanurile de viitor pe care le avea neobositul meu lucr`tor. Voiabandona cu siguran]` unul. Nu am fost niciodat` în totalitate deacord cu el, dar Líman studia situa]ia. El vroia s` l`rgeasc` spa]iuldin fa]a castelului la urcare prin dinamitarea unei p`r]i a stâncii [ipl`nuise construirea unui soi de portal pe care urma s` se afle unapartament pentru gardianul castelului. Ar fi fost o mare cheltu-ial` [i nu [tiu dac` mi-ar fi pl`cut, de[i, cu siguran]`, Líman ar fif`cut o cl`dire atractiv`, practic` [i artistic`. Dar ar fi fost preamult. „Dependin]ele”, bineîn]eles, trebuie terminate toate [i rea-lizate a[a cum a fost planificat deoarece ne ofer` tot spa]iul nece-sar pentru servitori [i suit`. Dar m` doare sufletul; voi continua [itermina totul, dar nu voi mai sim]i niciodat` acel „gusto”. Cutoate acestea, inten]ionez s` fac o lucrare complet` din toatepunctele de vedere cu voia lui Dumnezeu.
1 Regina Maria, Însemn`ri zilnice, 1929, ANIC, fond Regina Maria, rola 478, p.123-128. Traducere din limba englez` de Cristina Hag`u.
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215 QUEEN MARIE OF ROMANIA’S THOUGHTS ABOUT ARCHITECT KAREL LÍMAN ON HIS DEATH
KAREL ZDENÊK LÍMAN
Regina Maria la Castelul Bran / Queen Marie at Castle Bran, “Bran atmosphere”
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216 MARIA REGINA ROMÂNIEI: GÂNDURI {I IMPRESII LA MOARTEA ARHITECTULUI KAREL LÍMAN
KAREL ZDENÊK LÍMAN
1. Regele Carol I pe terasele Castelului Pele[, 27 aprilie 1914 / King Carol I on the terraces ofCastle Pele[ 27 April 19142. Regina Elisabeta în Sala de marmur`, Castelul Pele[ / Queen Elisabeth in the Marble Room,Castle Pele[3. Regina Maria [i Regele Mihai, c. 1927 / Queen Marie and King Michael, c. 1927
1
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217 QUEEN MARIE OF ROMANIA’S THOUGHTS ABOUT ARCHITECT KAREL LÍMAN ON HIS DEATH
KAREL ZDENÊK LÍMAN
4. Regele Ferdinand, c. 1925 / King Ferdinand, c. 19255. Principele Carol, c. 1920 / Prince Carol, c. 1920 6. Familia Regal` a României, c. 1909 / The Royal Family of Romania, c. 1909
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238 BIBLIOGRAFIE
KAREL ZDENÊK LÍMAN
Léo Bachelin, Castel-Pelesh, Le Château Royal de Sinaia, FirminDidot & Cie, Paris, 1893
Ruxanda Beldiman, Castelul Pele[ expresie a fenomenuluiistorist de influen]` german`, ed. Simetria, Bucure[ti, 2011
Eugeniu Artur Buhman, Patru decenii în serviciul Casei Regale aRomâniei. Memorii 1898-1940, edi]ie îngriijit` de CristianScarlat, ed. Sigma, Bucure[ti, 2006
Marian Constantin, Palate [i colibe regale. Arhitectura [idecora]ia interioar` în slujba monarhiei (1875-1925), ed.Compania, Bucure[ti, 2008
Paul Constantin, Dic]ionar al arhitec]ilor, ed. [tiin]ific` [iEnciclopedic`, Bucure[ti, 1986
Mihai Haret, Castelul Pele[. Monografie istoric`-geografic`-turis-tic`-descriptiv`-pitoreasc`, ed. Cartea Româneasc`, Bucure[ti,1924
Grigore Ionescu, Istoria arhitecturii pe teritoriul României, ed.Academiei, Bucure[ti, 1982
Shona Kallestrup, Art and design in Romania 1866-1927. Localand international aspects of the search for national expression,East European Monographs, Boulder Colorado, New York, 2006
Ian Macdonald-Smith, The Houses and Gardens of M.H. BaillieScott, Rizzoli International publications, New York, 2010
Maria Regina României, Povestea vie]ii mele, volumul II, tra-ducere de M`rg`rita Miller-Verghi, edi]ie îngrijit` de Ioana Crac`,ed. Eminescu, Bucure[ti, 1991
Maria Regina României, Însemn`ri zilnice (decembrie 1918-decembrie 1919), volumul I. Traducere de Valentina Costache [iSandra Racoviceanu. Îngrijire de edi]ie, Introducere [i Note deVasile Arimia, ed. Albatros, Bucure[ti, 2004
Maria Regina României, Însemn`ri zilnice (ianuarie 1921 –decembrie 1921), volumul III, traducere de Sanda IleanaRacoviceanu. Îngrijire edi]ie, introducere [i note de VasileArimia, ed. Albatros, Bucure[ti, 2005
Bibliografie selectiv` / Selected bibliography
Maria Regina României, Însemn`ri zilnice (1923), volumul V,Traducere de Sanda-Ileana Racoviceanu. Îngrijire de edi]ie,Cuvânt înainte [i note de Vasile Arimia, ed. Historia, Bucure[ti,2006
Maria Regina României, Însemn`ri zilnice (1924), volumul VI,traducere de Sanda Ileana Racoviceanu. Îngrijire edi]ie, Cuvântînainte [i note Vasile Arimia, Bucure[ti, ed. Historia, 2008
Maria Regina României, Însemn`ri zilnice (1 ianuarie – 31decembrie 1925), volumul VII, traducere de Sanda-IleanaRacoviceanu. Îngrijire de edi]ie, Cuvânt înainte [i note de VasileArimia, ed. Historia, Bucure[ti, 2008
Maria Regina României, Însemn`ri zilnice (1 ianuarie – 31decembrie 1926) volumul III, ed. Cognitia, Bucure[ti, 2010
Cezara Mucenic, Bucure[ti. Un veac de arhitectur` civil` SecolulXIX, ed. Silex, Bucure[ti, 1997
Pevsner Nikolaus, Fleming John, Honour Hugh, Dizionario diarchitettura, Giulio Einaudi Editore, Torino 1981
Carl A. Regnet, Führer durch die Kunst- und Kustgewerbeausstellung in München, Verlag Lehman & Wenzel, Wien, 1876
Toma T. Socolescu, Fresca arhitec]ilor care au lucrat în Româniaîn epoca modern` 1800-1925, ed. Caligraf, Bucuresti, 2004
Alexandru Tzigara-Samurca[, Castel Pele[ 1883-1933, ed.Monitorul Oficial, Bucure[ti, 1933
Eugène Viollet-le-Duc, Entretiens sur l'architecture, II, Paris 1872
Abrevieri
Arhivele Na]ionale Istorice Centrale – ANICMuzeul Na]ional Pele[ - MNP
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239 AKNOWLEDGEMENTS
KAREL ZDENÊK LÍMAN
Mul]umiri / Aknowledgements
Autorii aduc respectuoase mul]umiri Alte]ei Sale RegalePrincipesei mo[tenitoare Margareta a României [i FamilieiRegale a României pentru sus]inerea acestei publica]ii.Întreaga noastr` gratitudine se îndreapt` c`tre Excelen]a Sadomnul Ji+í titler ambasadorul Republicii Cehe la Bucure[ti,ini]iatorul monografiei Karel Líman [i cel care ne-a încurajatîn mod constant pe parcursul întregului demers. În egal`m`sur` aducem mul]umiri domnului, Jan Veskrna, managerde ]ar` al CEZ, pentru modul generos în care a sus]inut acestproiect.Cartea dedicat` arhitectului Karel Líman nu ar fi putut s`apar` f`r` concursul doamnei Rodica Rot`rescu, director gene-ral al Muzeului Na]ional Pele[, al doamnei RoxanaTheodorescu, director general al Muzeului Na]ional de Art` alRomâniei, al domnului Narcis Dorin Ion, director general alMuzeului Na]ional Bran, al doamnei Adina Ren]ea, directorgeneral al Muzeului Na]ional Cotroceni [i Ministerului Culturii,Bucure[ti, Romånia.Reprezentan]ilor familiei Líman, doamnei Anna Salacová-Límanová si domnul Tomás Líman, le suntem îndatora]i pen-tru a fi îmbra]isat acest proiect punându-ne la dispozi]iepre]ioase documente din arhiva de familie. Deasemeneadoamnei Lenka Bavorová de la Infocentrum Mladá Boleslav.Alese mul]umiri se cuvin doamnei Gabriela Popa, fost director alMuzeului Na]ional Pele[ pentru sprijinul constant.De un esen]ial folos ne-a fost documentarea întreprins` înfondurile arhivistice aflate în prestigioase institu]ii publice:Arhiva Muzeului Na]ional Pele[, Cabinetul de Stampe alBibliotecii Academiei Române, Biblioteca Institutului de IstoriaArtei „G. Oprescu” al Academiei Române, Arhivele Na]ionaleIstorice Centrale, Arhiva Muzeului Na]ional Bran. Doamnei Helliana Ianculescu \i mul]umim pentru traduceriledin limba ceh`. Domnului Alistair Blyth [i doamnei CristinaHag`u le mul]umim pentru traduceriile \n [i din limba englez`.Alese mul]umiri se cuvin editurii Igloomedia, doamnelorViorica Buica [i Andreea Amzoiu, domnilor Adrian Cioc`zanu,Bruno Andre[oiu, Cristian David [i C`t`lin Artenie.De asemenea suntem recunosc`tori tuturor celor care ne-ausprijinit pe parcursul realiz`rii acestui proiect.
The authors would respectfully like to thank Her RoyalHighness the Crown Princess Margareta of Romania and theRomanian Royal Family for supporting this publication. We extend our fullest gratitude to His Excellency Ji+í titler, theAmbassador of the Czech Republic in Bucharest, who was theinitiator of this monograph and who has encouraged usthroughout its making. Equally, we thank Mr Jan Veskrna, theCEZ country manager, for his generous support. This book dedicated to architect Karel Líman would not havebeen possible without the help of Mrs Rodica Rot`rescu, theDirector General of the Pele[ National Museum, Mrs RoxanaTheodorescu, the Director General of the Romanian NationalMuseum of Art, Mr Narcis Dorin Ion, the Director General ofthe Bran National Museum, Mrs Adina Ren]ea, the DirectorGeneral of the Cotroceni National Museum, and the RomanianMinistry of Culture. We are indebted to Mrs Anna Salacová-Límanová and MrTomás Líman, members of the Líman family, for embracingthis project and placing at our disposal precious documentsfrom the family archive. Likewise, we thank Mrs LenkaBavorová of the Mladá Boleslav Infocentrum. We extend our especial thanks to Mrs Gabriela Popa, the formerdirector of the Pele[ National Museum for her constant support.Of particular use to us was the opportunity to carry out researchin the archives of a number of prestigious public institutions:the Archive of the Pele[ National Museum, the EngravingsCabinet of the Romanian Academy Library, the Library of theRomanian Academy’s G. Oprescu Institute of Art History, theCentral National Historical Archives and the Archive of the BranNational Museum. To Mrs Helliana Ianculescu we are grateful for her translationsfrom the Czech. We thank Mr Alistair Blyth and Mrs CristinaHag`u for their translations to and from english. We would also especially like to thank Mrs Viorica Buica, MrsAndreea Amzoiu, Mr Adrian Cioc`zanu, Mr Bruno Andre[oiu,Mr. Cristian David and Mr C`t`lin Artenie of Igloomedia. We are grateful to all those who have supported us in bringingthis project to fruition.
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