Campulung Muscel. Schițe pentru o monografie arhitecturală

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SCHI}E PENTRU O MONOGRAFIE ARHITECTURAL~

SKETCHES FOR AN ARCHITECTURAL MONOGRAPH

50 lei

Salut`m ini]iativa igloomedia de a începe colec]ia de schi]e monografice cu municipiul Câmpulung Muscel, unul dintre cele mai interesante ora[e ale României din perspectiva patrimoniului arhitectural. Mizând pe for]a de convingere a imaginilor, sper`m ca albumul s` devin` un reper atât pentru speciali[ti, cât [i pentru publicul larg, atât pentru cunosc`torii urbei, cât [i pentru cei ce urmeaz` s` o descopere, [i, astfel, un instrument de promovare a valorilor culturale câmpulungene. C`lin Ioan Andrei, Primar Câmpulung Muscel Noiembrie 2012

We salute igloomedia's initiative to begin their monographic sketch series with the city of Câmpulung Muscel, one of the most interesting cities in Romania as far as architectural heritage is concerned. We are counting on the images to speak for themselves and we hope that this album will become an important reference both for specialists as well as for a wider audience, as much for those who are familiar with our city as for anyone about to discover it, thus acting as an instrument for the promotion of Câmpulung cultural values.

CÂMPULUNG MUSCEL

The fundamental message behind the architecture and urbanism of Cåmpulung is encoded in the quasi-complete "genome" it uses to illustrate the circulation and selection of architectural models. Circulation of expressions characteristic of both rural architecture and urban architecture, of models of the vernacular alongside examples of educated styles, of local creation alongside Western inspiration, as well as of a remarkable range of inter and outer-Carpathian models for organizing the land itself. (…) This album is only in part dedicated to the values of architecture and urbanism (…) because the images of porches shaded by eaves, or the musicality of wooden accolades and arches made of Albe[ti stone, as well as the details of the ironwork on the balconies or the traditional woodwork, the spectacular carpentry of the porch covers, all of these are architecture as much as they are the embodiment of the life-style of a community who knew how to interpret models, nurture ability and preserve values. Conf. phd. arch. Sergiu Nistor

CÂMPULUNG MUSCEL SCHI}E PENTRU O MONOGRAFIE ARHITECTURAL~ SKETCHES FOR AN ARCHITECTURAL MONOGRAPH

Mesajul fundamental al arhitecturii [i urbanismului Cåmpulungului st` \n „genomul” cvasicomplet pe care ni-l prezint` pentru a ilustra circula]ia [i selec]ia modelelor arhitecturale. Circula]ie \ntre expresiile specifice arhitecturii rurale [i cele ale celei urbane, \ntre modelele arhitecturii vernaculare [i stilurile celei culte, \ntre cea autohton` [i cea de inspira]ie occidental`, precum [i o remarcabil` exemplificare a circula]iei modelelor intra [i extra carpatice de amenajare a teritoriului. (…) Albumul este doar \n parte dedicat valorilor arhitecturii [i urbanismului, (…) pentru c` imaginile prispelor umbrite de stre[ini, ca [i muzicalitatea acoladelor de lemn sau paiant`, ori a arcadelor din piatr` de Albe[ti, ca [i detaliile feroneriei balcoanelor ori tåmpl`riei tradi]ionale, dulgheria spectaculoas` a foi[oarelor sunt tot atåt arhitectur` cåt sunt substan]ializarea stilului de via]` al unei colectivit`]i care [tia s` preia modele, s` construiasc` competen]e [i s` transmit` valori. Conf. dr. arh. Sergiu Nistor

C`lin Ioan Andrei, Mayor of Câmpulung Muscel November 2012

igloopatrimoniu


Descrierea CIP a Bibliotecii Na]ionale a României Câmpulung Muscel: schi]e pentru o monografie arhitectural` Câmpulung Muscel: sketches for an architectural monograph / ed. coord., postf.: Bruno Andre[oiu; pref.: Sergiu Nistor; texte: M`d`lina Mirea; trad.: Smaranda Nicolau; foto: {erban Bonciocat; graf.: Raluca Jipa. - Bucure[ti: Igloo, 2012 Bibliogr. ISBN 978-606-8026-20-6 I. Andre[oiu, Bruno (coord.; postf.) II. Nistor, Sergiu (pref.) III. Mirea, M`d`lina (text) IV. Nicolau, Smaranda (trad.) V. Bonciocat, {erban (foto.) VI. Jipa, Raluca (graf.) 72(498 Câmpulung Muscel)(084)

Proiect editorial finan]at de Administra]ia Fondului Cultural Na]ional

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.


SCHI}E PENTRU O MONOGRAFIE ARHITECTURAL~

CÂMPULUNG MUSCEL SKETCHES FOR AN ARCHITECTURAL MONOGRAPH

igloopatrimoniu



sumar / contents

Prefa]` / Foreword.............. ..........................................................................................6 Harta / Map....................................................................................................................8 Câmpulung, file de istorie [i legend` / Câmpulung, pages of history and legend....12 Ora[ul zidurilor biserice[ti / A town of church walls...............................................36 - biserica/church Sfântul Gheorghe - biserica/church Sfântul Nicolae - biserica/church {ube[ti - biserica/church Sfânta Marina - biserica/church Sfântul Ilie - biserica/church Negru-Vod` - biserica/church Fundeni - biserica/church Domneasc` - biserica/church Fl`mânda

Mo(nu)mente de arhitectur` urban` / Mo(nu)ments of urban architecture.......106 - prim`ria/city hall Câmpulung - [coala/school Carol I - hotelul/hotel Regal - casa/house Golescu - casa/house {tef`nescu - casa/house Dr`ghiceanu - casa/house Mirea - casa/house Anastase - casa/house Paul - casa/house Oprea-Iorgulescu

Casa de Muscel. Prezen]e urbane / The Muscel House. Urban presences...........184 Postfa]` / Afterword...................................................................................................198 Bibliografie / Bibliography........................................................................................199 Colofon / Colophon...................................................................................................200


CÂMPULUNG MUSCEL. SCHI}E PENTRU O MONOGRAFIE ARHITECTURAL~

PREFA}~ Conf. dr. arh.

SERGIU NISTOR

pre[edinte ICOMOS România

scrie o prefa]` la o monografie/album despre ora[ul Cåmpulung Muscel comport` o dubl` dificultate: pentru a suscita interesul celui care nu cunoa[te (\nc`) Cåmpulungul, prefa]a se g`se[te \n pozi]ia ingrat` de a trebui s` fie competitiv` cu textul – mult mai temeinic [i tacticos – al capitolelor propriu-zise, iar pentru cei care au deja cuno[tin]` de frumuse]ea locurilor muscelene [i a arhitecturii [i urbanisticii ora[ului primei capitale a }`rii Romåne[ti, prefa]a risc` s` fie superflu` [i s` fie frunz`rit` rapid, cu aten]ia pe care o d`m \ndeob[te con]inutului panourilor de la intrarea \ntr-o localitate pe care o cunoa[tem demult. A[a \ncåt m-am hot`råt s` prefa]ez acest op scriind mai degrab` despre lec]ia pe care Cåmpulungul le-o ofer` profesioni[tilor din arhitectur` [i urbanism. Este vorba despre exemplaritatea ora[ului pentru selec]ia cultural` a modelelor de construire a terenului [i pentru dialogul dintre modele arhitecturii rurale [i urbane. C`ci, \n opinia mea, mesajul fundamental al arhitecturii [i urbanismului Cåmpulungului st` \n „genomul” cvasicomplet pe care ni-l prezint` pentru a ilustra circula]ia [i selec]ia modelelor arhitecturale. Circula]ie \ntre expresiile specifice arhitecturii rurale [i cele ale celei urbane, \ntre modelele arhitecturii vernaculare [i stilurile celei culte, \ntre cea autohton` [i cea de inspira]ie occidental`, precum [i o remarcabil` exemplificare a circula]iei modelelor intra [i extra carpatice de amenajare a teritoriului. Ca orice lec]ie ce \nlocuie[te o deprindere natural` a omului cu una bazat` pe teorie [i valorizare, [i

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aceast` lec]ie a Cåmpulungului este, din p`cate, o dovad` a pierderii unor competen]e. Este vorba despre pierderea unor competen]e de edificare bazate pe transmiterea din genera]ie \n genera]ie a unor principii a c`ror juste]e se baza pe tradi]ie [i continuitate. Nicicånd pån` \n perioada contemporan` aceast` competen]` nu a fost atåt de mult pus` \n cauz` [i amenin]at`. Chiar \n perioada apari]iei me[terilor str`ini, \ncepånd cu sfår[itul secolului al XIX-lea, edificiile ridicate de ace[tia, chiar dac` la o nou` scar`, erau capabile s` dialogheze cu tradi]ia local` mai degrab` decåt s` o contrazic`. De cåteva decenii, dezvoltarea modern` [i contemporan` a ora[ului pune \ntre paranteze valorile generate de o rela]ie specific` [i natural` a ora[ului cu locul, a construc]iilor cu materialele din care sunt f`cute, a arhitecturii cu via]a simultan måndr`, dar [i tihnit` a locuitorilor. Celor care cunosc Cåmpulungul de mai demult albumul de fa]` le prezint` frumuse]i cunoscute, a[a cum autorii s`i le-au mai putut reg`si, dar [tirbite nu doar de timp, ci [i de oameni. De aceea, lucrarea pe care am privilegiul s` o prefa]ez este doar \n parte dedicat` valorilor arhitecturii [i urbanismului, [i salut cu satisfac]ie formatul academic adoptat \n prezentarea lor. Pentru c` imaginile prispelor umbrite de stre[ini, ca [i muzicalitatea acoladelor de lemn sau paiant`, ori a arcadelor din piatr` de Albe[ti, ca [i detaliile feroneriei balcoanelor ori tåmpl`riei tradi]ionale, dulgheria spectaculoas` a foi[oarelor sunt tot atåt arhitectur` cåt sunt substan]ializarea stilului de via]` a unei colectivit`]i care [tia s` preia modele, s` construiasc` competen]e [i s` transmit` valori. Suportul acestui metabolism social st`, a[a cum este ar`tat \n album, atåt \n structura social` dezvoltat` istoric, cåt [i \n reflectarea sa conform` de c`tre textura urbanistic`. Aceasta din urm` st` \nc` \n limitele unei viabilit`]i ce poate fi recuperat`, fiind \n postura de a \napoia ceea ce a primit cåndva din partea societ`]ii: misiunea de a exprima demnitatea locuitorilor, dar [i måndria [i pl`cerea edific`rii spa]iilor vie]ii publice [i a celei familiale.


CÂMPULUNG MUSCEL. SKETCHES FOR AN ARCHITECTURAL MONOGRAPH

FOREWORD Conf. phd. arch.

SERGIU NISTOR

president ICOMOS Romania

riting a foreword for a monograph/album about Cåmpulung Muscel presents a double difficulty: in order to stir the interest of someone who doesn't (yet) know Cåmpulung, a foreword finds itself in the unfortunate position of having to compete with the text – far more extensive and diligent – of the actual chapters, while in order to address those who have already been introduced to the beauty of the region of Muscel and the urban architecture of the first Wallachian capital, the foreword risks seeming superfluous and as such, being browsed through at a rapid pace, given no notice beyond what we usually reserve for the 'welcome' sign to a town we've known for a very long time. So I decided the better option is to foreword this work by presenting the lesson that Cåmpulung teaches professionals in the fields of architecture and urbanism. I am speaking of the town's exemplary selection of cultural models of building and dialogue between rural and urban architecture. For, in my opinion, the fundamental message behind the architecture and urbanism of Cåmpulung is encoded in the quasi-complete "genome" it uses to illustrate the circulation and selection of architectural models. Circulation of expressions characteristic both of rural architecture as well as of urban architecture, of models of the vernacular alongside examples of educated styles, of local creation alongside Western inspiration, as well as of a remarkable range of inter and outer-Carpathian models for organizing the land itself. As are all lessons concerning the replacement of man's natural skills with skills based in theory and

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values, the lesson of Cåmpulung is, sadly, a tale of abilities lost – in this case, the ability to build based on principles handed down from generation to generation, whose justness was based on tradition and continuity. Never before in history has this ability been subjected to more doubt or threatened as much as it is today. Even during the times of the foreign craftsmen who arrived in the area towards the end of the 19th century, the buildings they erected, albeit on a different scale, were still able to maintain dialogue with the local tradition as opposed to contradicting it. Over the past few decades, the city's modern and contemporary development has bracketed a set of values resulted from the very specific and natural relationship occurring between the town and its place, between the buildings and the materials making them up, between architecture and the simultaneously proud and peaceful lives of its inhabitants. For those who remember the Cåmpulung of old, this album only holds known beauty, such as its authors were able to find, beauty washed out, not just by the passage of time, but by people as well. Which is why the work that I am privileged enough to preface is only in part dedicated to the values of architecture and urbanism – I full-heartedly salute the academic format through which these themes were taken on. Because the images of porches shaded by eaves, or the musicality of wooden accolades and arches made of Albe[ti stone, as well as the details of the ironwork on the balconies or the traditional woodwork, the spectacular carpentry of the porch covers, all of these are architecture as much as they are the embodiment of the life-style of a community who knew how to interpret models, nurture ability and preserve values. The support mechanism for this social metabolism lies, as this album shows, in a historically developed social structure that is continuously mirrored in the urban tissue. The latter is still within the limits of viability, recoverable, thus finding itself in a position to give back to society was it was once given by it: the mission to express the dignity of the town's inhabitants and the pride and pleasure of building spaces destined for family and public life.

7 prefa]`






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22 câmpulung, azi



CÂMPULUNG MUSCEL. SCHI}E PENTRU O MONOGRAFIE ARHITECTURAL~


CÂMPULUNG MUSCEL. SKETCHES FOR AN ARCHITECTURAL MONOGRAPH


CÂMPULUNG MUSCEL. SCHI}E PENTRU O MONOGRAFIE ARHITECTURAL~

Ora[ul zidurilor biserice[ti a Câmpulung de Muscel istoria se poate citi dup` crucile [i bisericile sale, cele multe [i dese [i vechi. Ora[ul medieval era structurat în trei zone, ocupate deja în secolele XIV-XV, cu func]ionalit`]i bine determinate: la nord [i la sud agricultur` [i comer], în timp ce nucleul, situat în jurul Bisericii Sfântul Ilie, era rezervat activit`]ilor comerciale [i me[te[ug`re[ti. Cu timpul, ca [i la Bucure[ti, sau în alte ora[e medievale, bisericile de mahala au coagulat jur-împrejurul lor, bresle [i ob[ti. Astfel, în partea sud-vestic`, se ridica înc` din secolul al XIII-lea Cloa[terul, m`n`stirea dominican`, iar pe marginea c`ii principale de tranzit dinspre }ara Româneasc` spre Bra[ov fuseser` durate cele mai importante l`ca[uri de cult: Biserica parohial` catolic` Sfântul Iacob, apa]inând comunit`]ii bara]ilor, [i cele dou` ctitorii domne[ti: Biserica Domneasc`, în incinta M`n`stirii Negru Vod`, nu departe de B`r`]ie, [i Biserica Sf. Nicolae, în apropierea zonei comerciale tradi]ionale. În partea nordic` se g`sea Biserica Valea, care ast`zi nu mai exist`. Secolul al XV-lea aduce noi ctitorii: în sudul ora[ului, Biserica Sfântul Gheorghe [i în imediata sa vecin`tate Biserica Fundeni; în zona central`, Biserica Sfântul Ilie [i mergând în sus, pe firul ]esutului urban longitudinal, Biserica Sfântul Nicolae Popa Savu, având la vest Biserica Bradu, azi disp`rut`, iar în partea nordic` Biserica Sfânta Marina. Traseul neregulat al drumului principal dintre ctitoria doamnei Chiajna (Sfântul Nicolae, supranumit` [i „Biserica Grecilor”) [i Sfântul Nicolae Popa Savu atest` faptul c` pân` târziu, în secolul al XIX-lea, aceast` zon` era doar par]ial construibil`. Din secolul al XVI-lea dateaz` cele dou` l`ca[e de cult, situate la capetele târgului: la nordul extrem Biserica Schei, la sud, Biserica {ube[ti. Se cuvine s` z`bovim pu]in în aceast` zon` sudvestic`, situat` în imediata vecin`tate a M`n`stirii Negru Vod`. Aici, ]esutul urban este diferit, trama stradal` este una radial`, atipic` pentru „lungul

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Câmpulung”. Zona nu se remarc` prin edificii impun`toare, îns` în acest cartier casa de Muscel este bine reprezentat`, cu exemplare de dimensiuni moderate, cu fa]ade orientate c`tre miaz`zi [i cu acoperi[uri în patru ape. Îns` ceea ce surprinde este densitatea bisericilor [i a crucilor vechi de piatr`. C`ci breslele nu erau atât de puternice încât s`-[i poat` dura singure propriile l`ca[uri de cult, iar densitatea popula]iei nu justifica trei biserici în mai pu]in de un kilometru. În secolul al XVIII-lea, teritoriului urban se extinde spre nord, prin înglobarea cartierului Vi[oi, iar spre sud, spre castrul roman de la Jidava, acest din urm` fapt conturând necesitatea apari]iei Bisericii Tuturor Sfin]ilor. Cu sporirea locuitorilor care iau în posesie pantele Gruiului, apare Biserica Sfântul Nicolae Nicu]. La aceste noi ctitorii se adaug` reconstruirea bisericilor Bradu [i Sfântul Nicolae Domnesc, precum [i construirea Bisericii Sfânta Vineri, despre care localnicii î[i mai amintesc [i ast`zi cu nostalgie. Mai mult decât în orice alt loc, la Câmpulung crucile de piatr` reprezint` un fenomen vizibil chiar [i pentru c`l`torul neini]iat. Fie c` este vorba despre crucile de hotar, situate pe panta Gruiului, despre cele care ghidau c`l`torii la r`scrucile drumurilor importante sau despre crucile votive, încastrate în pere]ii bisericilor, vorbim despre adev`rate documente în piatr` de Albe[ti, minu]ios decorate. Cele 37 de cruci care s-au p`strat urmeaz` aproximativ acela[i tipic al textului inscrip]ionat. La început se afl` invoca]ia c`tre Sfânta Treime [i c`tre sfântul c`ruia îi era închinat` crucea, al doilea paragraf pomene[te ctitorii, iar cea de-a treia parte consemneaz` privilegiile de care se bucurau câmpulungenii respectate de fiecare nou jude]. Crucile de piatr` au fost cl`dite vreme de trei secole, începând cu cea mai veche, datat` 21 iunie 1576, prin osteneala mo[nenilor câmpulungeni, pentru ca istoria ora[ului lor s` poat` fi citit` peste veac.


CÂMPULUNG MUSCEL. SKETCHES FOR AN ARCHITECTURAL MONOGRAPH

A town of church walls The history of Cåmpulung Muscel can also be read in the numerous town crosses and churches you encounter at every step. The medieval town was structured into three areas, already occupied in the 14th and 15th centuries according to rigorously established functions: to the north and south, agriculture and commerce, while the nucleus, clustered around St. Ilie, was reserved for commercial activities and crafts. With time, as was the case in Bucharest and other medieval cities as well, the churches in the slums coagulated small clans and guilds around them. Thus, the 'Cloister' Dominican monastery existed in the south-western side of the current town since the 13th century, while on the side of the main transit road from Wallachia towards Bra[ov, many of the most important places of worship were laid out: the Catholic parochial church of St. Jacob belonging to the community of the Baratian catholic priests and the two Royal houses: the Royal Church, on the grounds of the Negru Vod` Monastery, not far from B`r`]ia and the Curch of St. Nicholas, nearby the traditional commercial area. In the north stood the Valea Church that no longer exists today. The 15th century brings about new church establishments: in the south, the St. Gheroghe church and in its immediate vicinity, the Fundeni church; in the central area, the St. Ilie Church and walking up along the line of the longitudinal urban tissue, the St. Nicholas – Popa Savu Church, to the west of which rose the now lost Bradu Church, to the north of which we still find the Church of St. Marina. The irregular trail of the main road towards the Church founded by Lady Chiajna (St. Nicholas, nick-named the Greek Church) and St. Nicholas – Popa Savu attests that late in the 19th century, this area was only partly buildable. The two places of worship situated at either end of the town market date back to the 16th century: to the extreme north, Schei Church, to the south, {ube[ti Church. It will do to linger in this area for a little while longer, to the south-west, in the immediate vicinity of Negru Vod` Monastery. Here the

urban tissue is different – the street framework is radial, atypical of the "long" in Cåmpulung. The area doesn't stand out through any imposing edifices, but in this neighbourhood, the Muscel house is best represented, with examples of modest size, with arcades facing east and rooftops with four slopes. What is surprising, however, is the density of churches and old stone crosses. Especially seeing as the guilds were not powerful enough to build their own houses of worship and the population count would not have justified three churches in an area covering less than 1km in length. In the 18th century, urban territory would expand north and incorporate the Vi[oi neighbourhood, then south towards the Roman fort of Jidava, the latter accounting for the founding of the All Saints Church. As more and more people set up their homes on the slopes of Grui , the St. Nicholas Nicu] Church came into existence. To these newly founded places of worship we add mentions of the rebuilding of the Bradu and Royal Saint Nicholas churches, as well as the construction of the St. Friday Church, the story of which locals still remember nostalgically. More than anywhere else, in Cåmpulung, stone crosses represent a visible phenomenon even for the uninitiated traveller. Whether it be boundary crosses, dug into the slopes of Grui, crosses that used to guide travellers at important crossroads or votive crosses encased in the walls of churches, we are speaking of veritable documents inscribed in beautifully decorated Albe[ti stone. The 37 crosses that have been preserved approximately follow the same type of inscription. First there is an Invocation of the Holy Trinity and the Saint to whom the cross was dedicated, the second paragraph records the privileges the people of Cåmpulung had inherited, as abided by each new county deputy. Stone crosses were carved for three centuries, starting with the oldest, dated 21st of June 1576 – by the efforts of the Mo[neni of Cåmpulung, so that their history might be read throughout the ages.

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Biserica Sf. Iacob, B`r`]ia, sec. XIII-XVII

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CÂMPULUNG MUSCEL. SKETCHES FOR AN ARCHITECTURAL MONOGRAPH

Turnul B`r`]iei, sec. XVII

Biserica “Intrarea în biseric`”, Scheiu, sec. XVIII

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CÂMPULUNG MUSCEL. SCHI}E PENTRU O MONOGRAFIE ARHITECTURAL~

biserica

Sf. Nicolae

Pe bulevardul Negru Vod`, în plin centru, peste drum de vechea Prim`rie, devenit` Casa de Cultur` „Tudor Mu[atescu”, se afl` Biserica Sfântul Nicolae Popa Savu. Aspectul s`u monumental este asigurat de îmbinarea stilului gotic cu cel bizantin. Ca dimensiuni, este considerat` a fi a doua ca m`rime, dup` Biserica Domneasc`, îns` despre ea se spune c` ar fi cea mai frumoas` biseric` din Câmpulung. Nu se cunoa[te ctitorul ini]ial, nici data primei construc]ii. O piatr` de mormânt din 1673 dovede[te c` în secolul al XVII-lea exista deja, contemporan` cu Crucea Jur`mântului, a[ezat` la 1674 la cel`lalt cap`t al bulevardului. Pe o carte bisericeasc`, tip`rit` în 1776, apare o însemnare a „jupânului Manole sin popa Constandin cel b`trân, feciorul popii Savu, protopop de la hramurile Bunei Vestiri [i al ierarhului Nicolae”. Numele de Popa Savu dat bisericii, care o identific` între celelalte cu hramul Sfântului Nicolae, vine, a[adar, de la un preot care a p`storit aici. Nicolae Iorga spune despre acest Popa Savu c` era un personaj celebru în epoc`, de vreme ce a fost pomenit [i într-o scrisoare c`tre bra[oveni, a domnitorului Constantin Brâncoveanu, la 1708, în care se arat` c` a fost pr`dat de ni[te scheeni. Între 1860-1868 biserica a fost ref`cut` din temelie. Naosul este mai larg decât restul edificiului, datorit` absidelor laterale, dreptunghiulare care primesc lumina prin trei ferestre înalte. Turla deschis`, de deasupra naosului, are opt ferestre [i este mai pu]in înalt` decât turla din fa]`, dinspre intrare. Pridvorul a fost ad`ugat la 1930. Este mult mai îngust decât restul edificiului [i are câte o fereastr` în arc frânt pe laturile dinspre sud [i nord. Vitraliile au chipuri de sfin]i [i numele donatorului înscris pe fiecare în parte. În curtea bisericii se g`sesc dou` cruci de piatr`, de la 1655 [i 1828. O alt` cruce, bogat decorat` în meplat, este închinat` Sfintei Marina, Sfintei Paraschiva [i Sfântului Nicolae [i se g`se[te, înc` din 1756, în dreptul bisericii, dincolo de podul peste Râul Târgului, ce curge în apropiere.

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church

On Negru Vod` Boulevard, in the heart of town, across the street from the former building of City Hall now turned into Tudor Mu[atescu Culture House, lies the St. Nicholas – Popa Savu Church. A blend of Gothic and Byzantine styles grant it a monumental look. Though in size it is the second largest place of worship, after the Royal Church, it is considered to be first in terms of beauty. Its initial founder remains unknown, as does the date of the first construction. One tombstone dating back to 1673 proves that the church was already there in the 17th century, which makes it the contemporary of the Oath Cross, erected in 1674 at the opposite end of the boulevard. A church book printed in 1776 records one "lord Manole and Popa Constantin the Old, son of Popa Savu, archpriest of the order of the Annunciation and hierarch Nicholas." So the name of the church, Popa Savu, singling it out amongst other churches whose patron is Saint Nicholas, stems from a priest of this parish. Nicolae Iorga says of this Popa Savu that he must have been a truly famous figure of his times, seeing as he was also mentioned by Voivode Constantin Bråncoveanu in a letter to the town of Bra[ov, in 1708, where it is shown that he had been robbed by people of the plains. Between 1860 and 1868, the church was rebuilt from the ground. The nave is wider than the rest of the edifice thanks to the rectangular lateral apses receiving light through three tall windows. The open steeple above the nave has eight windows and is slightly taller than the steeple at the front of the church, above the entrance. The porch was added in 1930. It is much narrower than the rest of the edifice and has one broken arched window on either side, to the south and to the north. The stained glass windows on either side are painted with the faces of saints and inscribed with the name of the benefactor who donated them. In the churchyard we find two stone crosses marked 1655 and 1828. Another cross, richly decorated in méplat, is dedicated to Saint Marina, Saint Paraschiva and Saint Nicholas and has marked the way to the church since 1756 from across the Råul Tårgului flowing nearby.


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biserica

Fundeni

Într-un hrisov dat de domnitorul Matei Basarab, prin care se înt`reau drepturile bisericilor din Câmpulung, se men]ioneaz` c` Biserica Fundeni, cu hramul „Adormirea Maicii Domnului”, a servit ini]ial ca biseric`-bolni]` [i apoi drept cimitir pentru solda]ii care suferiser` r`ni grave în b`t`liile din r`zboiul de întemeiere a ]`rii. Se pare c` biserica de azi este cea de-a treia cl`dit` pe acelea[i temelii. Prima construc]ie, cu plan dreptunghiular [i absid` decro[at` dateaz` din secolul al XV-lea. Mormintele descoperite în interior o încadreaz` ca necropol` medieval`. Lespezile funerare din secolele XVI-XVII, refolosite ca ancadramente la ferestrele bisericii actuale dateaz`, probabil, din cea de-a doua etap`. În etapa a treia, în jurul anului 1700, au fost inserate în structura sa materiale apar]inând fostei biserici catolice Cloa[ter, aflate în apropiere, precum [i vechi pietre de mormânt. O vreme, biserica a func]ionat [i ca metoc al M`n`stirii Negru-Vod`, în altar p`strându-se înc` portretul unui monah, probabil slujitorul de aici sau stare]ul m`n`stirii din timpul pict`rii ei. La începutul secolului XIX, parohia acestei biserici era format` din aproximativ 30 de case, spre actuala gar`. Pe la mijlocul aceluia[i secol, biserica s-a deteriorat [i a devenit imposibil de reparat pentru pu]inii enoria[i, motiv pentru care a fost abandonat`. Aici se afla [i cimitirul vechi al ora[ului, unde erau înmormântate victimele epidemiilor. Dup` cel de-al Doilea R`zboi Mondial, biserica a fost trecut` în custodia Muzeului or`[enesc, f`r` îns` a fi inclus` în circuitul de vizitare. Aproape un secol, biserica Fundeni a suferit vitregiile vremii, inclusiv pericolul d`râm`rii oficiale, fiind închis` [i amenajat` ca un mic muzeu cu obiecte biserice[ti vechi. Cimitirul nu a mai fost folosit. În 1935, biserica a fost restaurat` prin grija Comisiei Monumentelor Istorice. În 1995, Preasfin]itul P`rinte Calinic, episcopul Arge[ului [i Muscelului, a ob]inut redeschiderea bisericii. De atunci se sluje[te permanent. Pictura, bine conservat`, este înc` nedatat` [i neatribuit`.

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church

In a charter issued by Voivode Matei Basarab by way of which the rights of the churches of Cåmpulung were strengthened it is mentioned that the ‘Fundeni’ church, of the order ‘The Dormition of the Mother of God’, initially served as an infirmary-church and then as graveyard for soldiers having suffered grave wounds in the battles for the founding of the country. It seems that the church we see today is the third built on the same groundwork. The first construction, rectangular in shape with a cutout apse, dates back to the 15th century. The graves uncovered in the interior identify it as a medieval necropolis. The tombstones dating back to the 16th and 17th centuries used as framing for the windows on the current church probably date back to the construction's second phase. In a third phase, around the year 1700, materials from nearby the former Cloister Catholic churches inserted into the building, as well as old tombstones. For a while, the church functioned as succursal to the Negru-Vod` Monastery, as may be deduced from the fact that its altar held the portrait of a monk, either a servant here or prior of the Monastery when the church was painted. At the beginning of the 19th century, the parish of this church was made up of approximately 30 houses in the direction of what is today the train station. Around the middle of that same century, the church became deteriorated and impossible to repair for so few parishioners, which is why it was abandoned. This is also where the old town cemetery used to be, where victims of epidemics were buried. Following WWII, the church passed into the guardianship of the Town's Museum, though it was not included in the touristic circuit at that time. For almost a century, the Fundeni church suffered at the mercy of the elements and was even under official threat of demolition before being closed down and set up as a small museum for old objects of worship. The cemetery was never used again. In 1935 the church was restored under the care of the Commission for Historic Monuments. In 1995, the All-Holy Father Calinic, bishop of Arge[ and Muscel, managed to get the church reopened, and it has been in service ever since. The well-preserved painting is still undated and unattributed.


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biserica

Fl`mânda

Biserica Fl`mânda, a[ezat` pe dealul cu acela[i nume, ofer` asupra urbei o ampl` perspectiv`. Silueta sa zvelt` este vizibil` înc` de pe drumul de intrare în Câmpulung. Este puternic luminat` [i noaptea, în ultima vreme. Oper` a cunoscutului arhitect G.M. Cantacuzino, se mai nume[te [i „Biserica Miresii”. Ctitorul a fost generos, stranele, catapeteasma [i toat` decora]ia bisericii fiind din piatr` de Albe[ti. Cu altarul semicircular, cu trei rânduri de ferestre, din care unul pe axul central, edificiul se sprijin` pe [apte coloane angajate, cu socluri [i capiteluri bogat ornamentate. Icoanele împ`r`te[ti sunt rånduite la în`l]imea unui om a[ezat în genunchi. Când, la începutul anilor 2000, fiul arhitectului, {erban Cantacuzino a vizitat edificiul, a zâmbit, pl`cut surprins, de inova]ia tat`lui s`u, care a proiectat turla deschis` sub forma a doi cilindri, înscri[i unul în altul, cu arce amintind pe cele din bisericile moldovene[ti. Pronaosul foarte înalt este compartimentat de trei arcade, desc`rcate pe stâlpi laterali. Pe latura nordic` se afl` trei morminte, cel al lui Gheorghe {tef`nescu, cel al so]iei sale Elena Luiza [i cel al fiicei Margareta, unicul lor copil. Pisania, fixat` deasupra intr`rii bogat ornamentate, poveste[te c` „s-a ridicat din temelie în anii 1938-1940 prin cheltuiala lui Gheorghe {tef`nescu din Câmpulung, în memoria fiicei sale Margareta, r`pit` de moarte n`prasnic` în ziua nun]ii sale [i înmormântat` în rochie de mireas`, în biseric`…” Tr`iesc, înc`, la Câmpulung persoane care î[i amintesc de tragicul accident, petrecut pe [oseaua ce vine de la Bucure[ti, din vina [oferului ce conducea o elegant` ma[in` de epoc`, în care, pe bancheta din spate, se afla fericita pereche ce tocmai se c`s`torise [i se pozase într-un celebru, pe atunci, studio fotografic din Bucure[ti. Dup` ce i-a fost confiscat` de comuni[ti [i casa care azi îi poart` numele [i care ad`poste[te Muzeul de Etnografie, Gheorghe {tef`nescu, un Iov contemporan, a tr`it din mila numero[ilor s`i fini. Ast`zi este pomenit drept ctitor, la fiecare slujb`.

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church

Situated on a hill bearing the same name, Fl`månda Church offers a wide view over the city. Its slender figure is visible as you enter the town of Cåmpulung. Of late, it is brightly lit during the nighttime. The work of renowned architect G. M. Cantacuzino, the church is also called ‘The Bride's Church’. Its founder was very generous and so the pews, the altar cover and all of the decorations in the church are made of Albe[ti stone. With a semicircular altar with three rows of windows, one row on the central axis of the building, this edifice rests against seven supporting columns with lavishly decorated pedestals and crowns. The paintings of the princes are placed at the height of a man kneeling down. When, in the early 2000s, the son of the architect, {erban Cantacuzino, visited the edifice, he smiled pleasantly surprised by his father's innovation, his design for a steeple opening up in the shape of two circumscribed cylinders, with arches reminiscent of Moldavian churches. The unusually tall ante-temple is divided into compartments by three vaults supported on lateral pillars. On the northern side we find three graves belonging to Gheorghe {tef`nescu, his wife Elena Luiza and their daughter Margareta, their only child. The inscription, fixed above the richly ornate entrance, tells that "the foundation was built in 1938-1940 at the expense of Gheorghe {tef`nescu of Cåmpulung, in memory of his daughter Margareta, taken by a terrible death on the day of her wedding and buried in her wedding dress in the church...’ There are still people in Cåmpulung who remember the tragic accident – the driver of the elegant vintage car transporting the happy pair of newly weds after a photo shoot in a studio in Bucharest lost control of the car on the highway returning to Cåmpulung. After the communists seized the house that now bears his name and hosts the Ethnography Museum, Gheorghe {tef`nescu, a current-day Job, lived off the mercy of his numerous godsons. Today he is mentioned as founder of the church in every sermon.


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Mo(nu)mente de arhitectur` urban` recum c`r]ile în edi]ii de lux ale unei biblioteci supradimensionate sunt a[ezate casele frumoase la Câmpulung, aliniate sârguincios în lungul arterelor principale. C`ci valea îngust` a Râului Târgului [i direc]ia drumului ce continu` culoarul Ruc`r-Bran au generat trei artere longitudinale. Între acestea, Uli]a Gruiului, una dintre primele str`zi atestate documentar, denumit` ulterior Matei Basarab [i frecvent consemnat` de c`l`tori. Apoi, calea principal` de tranzit între Bra[ov [i }ara Româneasc`, numit` mult` vreme Uli]a Târgului sau Uli]a Mare, calea care a str`b`tut, dintotdeauna, ora[ul prin mijloc, pe toat` lungimea lui. Mult` vreme men]ionat` drept uli]a principal` a târgului, ast`zi se nume[te Strada Negru-Vod`. Cea de-a treia arter` longitudinal`, numit` Uli]a Râului, a avut, în principal, un rol economic, prin faptul c` asigura un acces rapid spre han, spre locul bâlciului spre calea Târgovi[tei [i spre morile din estul ora[ului. Se cuvine s` preciz`m c` în centrul istoric al a[ez`rii nu s-a intervenit semnificativ pân` ast`zi, pentru c` acest fapt este unul cu totul izolat în ora[ele din sudul ]`rii care au fost supuse, în marea lor majoritate, sistematiz`rilor dramatice din anii '70-'80. Trama stradal` p`streaz`, în mare m`sur`, structura regulat`, constituit` între secolele XV-XVII, tributar`, se spune, spiritului s`sesc, mai riguros, dar [i caracteristicilor geografice ale a[ez`rii. Locuin]ele, fiind pozi]ionate în mod natural c`tre albia Râului Târgului, au creat uli]e secundare, perpendiculare pe firul apei. Este adev`rat c` nucleele locuite aveau, la început, o structur` aerisit`, cu loturi mari [i gospod`rii cu cur]i ample, îns` cre[terea demografic` a determinat divizarea loturilor, astfel încât ast`zi casele au front minim la strada principal`, sunt lipite calcan lâng` calcan sau, dup` caz, sunt desp`r]ite de ganguri înguste ori lungi cur]i interioare. Alinierea [i regularizarea str`zilor, amenajarea sau construirea unor spa]ii urbane cu func]ionalit`]i de recreere, apari]ia unor str`zi de leg`tur` noi, determinat` de sporirea densit`]ii construc]iilor, toate aceste fenomene se produc mai cu seam` spre sfâr[itul secolului al XIX-lea, când ora[ul se afirm` ca o

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localitate de vilegiatur`. Locul ml`[tinos din centrul actual al urbei, inundat alt`dat` de viiturile de pe dealul Grui, a f`cut astfel loc promenadei, care începe cu Bulevardul Pardon, situat între Biserica Sfântul Nicolae Popa Savu [i B`r`]ie, [i se continu` cu amplul spa]iu de lâng` Biserica Domneasc` Sfântul Nicolae. Calea faciliteaz` accesul în zona de sud a ora[ului, unde se afl` o mare parte dintre bisericile importante, despre care vom vorbi la capitolul dedicat patrimoniului eclezial construit. Ne putem u[or imagina mul]imea vilegiaturi[tilor ie[i]i seara la promenad` într-un num`r atât de mare, încât mergeau um`r lâng` um`r, rostind deseori, politicos [i graseiat numele bulevardului: Pardon. {i pentru c` în gr`dina public` cei tineri ofereau întotdeauna celor în vârst` locul pe banc`, se auzea [i aici de zeci de ori: „Merci”. Secolul XX aduce, pe lâng` reconstruc]ia fronturilor, înc` cinci hoteluri, numeroase restaurante, cofet`rii, cafenele, magazine de lux, libr`rii [i b`nci, dep`[ind, în mod evident, cererea localnicilor. Dac` ad`ug`m la via]a cultural` foarte activ`, infrastructura peste medie a ora[ului, cu c`i de comunica]ie, po[t`, telegraf [i distan]a mic` de capital`, precum [i împrejurimile ofertante pentru vân`toare [i drume]ii, vom în]elege de ce ora[ul este preferat de mul]i bucure[teni drept re[edin]` secundar`. Din punct de vedere arhitectural, se cuvine s` subliniem c`, cel pu]in în centru [i pe arterele principale, planul urbanistic general este respectat, regimul de în`l]ime dep`[ind numai arareori formula P+2. Pe str`zile laterale, g`sim, al`turi de case vechi [i frumoase, construc]ii noi, ceva mai îndr`zne]e, care dau, în cele din urm`, m`rturie despre gustul [i puterea financiar` a comanditarului. Fiind clasat în patrimoniu, centrul vechi a fost ferit de interven]ii abrupte, îns` nu a putut fi cru]at de culorile uneori mai pu]in inspirate ale unor fa]ade sau de nelipsita tâmpl`rie din PVC. Îns` nota dominant` a ora[ului r`mâne cea de urbe rafinat`, vie [i aerisit`, în care î]i po]i oferi oricând un prilej de pl`cut r`gaz.


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Mo(nu)ments of urban architecture ike neatly stacked luxury editions in an oversized library, so the beautiful houses in Cåmpulung are lined up along the main arteries of the town. For the narrow valley of Råul Tårgului and the direction of the road leading onwards to the Ruc`r-Bran passage produced precisely three longitudinal arteries. Between them, Uli]a Gruiului, one of the first streets attested in documents, later named by Matei Basarab and frequently noted by travellers passing through town. Then, the main transit route towards Bra[ov and Wallachia, called Uli]a Tårgului or Uli]a Mare for some time, a street that had always cut straight through the middle of town, along its entire length. Mentioned for a long time as the main street of the market we have what is today called Negru-Vod` Street. The third longitudinal artery, called Uli]a Råului always played an important economical part in that it ensured quick access to the inn, to the fair on the way to Tårgovi[te and to the mills in the eastern part of the city. It is worth mentioning that the historic centre of the settlement hasn't suffered any significant interventions so far, which is an entirely isolated occurrence in the cities in the south of the country, most of which suffered dramatic systematizations in the 70s and 80s. The street tissue is for the most part regular, built in the 15-17th centuries, and as word has it, is owed to a rigorous Saxon spirit as well as to the geographical characteristics of the settlement. The houses, naturally positioned to face the banks of Råul Tårgului created secondary alleys, perpendicular with the course of the river. It is true that the dwelling nuclei did, to begin with, have quite an aired structure, with large lots and wide courtyards to every household, but demographic growth soon divided the lots so that today the houses' street side is reduced to a minimum, they line up blind wall against blind wall or, in some cases, are separated by narrow alleys or long interior courtyards. The alignment and regularity of the streets, the insertion or construction of urban spaces with recreational functions, the addition of new connecting streets determined by a rise in building density, all of these phenomena appear predominantly toward the end of the 19th century when the city affirms itself as a holiday resort. The swampy ter-

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rain in the current centre of town, formerly a constant victim of the floods coming down from Grui, was turned into a promenade that began with Pardon Boulevard, situated between the St. Nicholas – Popa Savu Church and B`r`]ia and continuing on with the generous space near the Royal St. Nicholas Church. This trail facilitated access to the Southern area of the city where a great deal of the important churches are located, but we shall say more about them in the chapter dedicated to the town's heritage of built worship places. We can easily imagine the crowd of holiday-makers going out on the promenade in the evening in numbers so great that they would walk shoulder to shoulder, many a time being forced to politely trill the name of the boulevard to each other: Pardon. And because the young would always offer their seats in the public garden to the elderly, here and there again you would hear dozens of: Mercis. The 20th century brings with it the reconstruction of the street fronts, 5 new hotels, countless restaurants, confectioneries, cafes, luxury shops, libraries and banks, obviously far exceeding local demand. If we add to this an extremely active cultural life, an above average infrastructure with connecting roads, post offices, and a telegraph office in a town not far from the capital and surrounded with sights rich in hunting spoils and adventures for those who enjoy hiking, we will soon understand the appeal this city held with Bucharestians who came to prefer Cåmpulung to their hometown. In terms of architecture we should mention that at least the centre and the main arteries abide by the urban plan – the height of the buildings in this area rarely goes beyond G + 2. The side streets did, in the end, bear witness to the taste and financial pull of investors, as here we now come across newer, bolder constructions rising up alongside beautiful old houses. Having been declared a cultural heritage site, the old town was spared such abrupt interventions, though it could not be spared the more or less tasteful colours that have come to adorn some facades, or the ubiquitous PVC framework. The dominant key of the city still remains, however, that of a refined, lively and well-aired town where one may give oneself reason to pause for a pleasant while.

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Casa Iacomin, strada Negru Vod` nr. 158

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Casa Purnichescu, strada Elena Doamna nr. 9

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Casa St`tescu, strada Lasc`r Catargiu nr. 43

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Cas` pe strada Ghe. Po[oiu nr. 5

Cas` pe strada Gr. Andreescu nr. 2

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prim`ria

Câmpulung city hall

Anul 1928 a fost un an prolific pentru arhitectul D.I. Berechet. Este anul în care prime[te Premiul Salonului Oficial de Arhitectur` pentru proiectul de refunc]ionalizare a Casei {tef`nescu, cel în care încheie lucr`rile la Vila Iorgu Anastase, acela[i în care deschide [antierul la actualul sediu al prim`riei care, la acea vreme, func]iona drept prefectur` a ora[ului. Lucr`rile, care dureaz` pân` în 1934, pun în oper` acela[i plan simetric [i conven]ional, utilizat la vechea prim`rie, sediul actual al casei de cultur` Tudor Mu[atescu. Concep]ia arhitectural` se remarc` prin echilibrul dintre monumentalitatea spa]iilor [i delicate]ea decora]iilor, mai cu seam` la interior, la sc`rile de onoare, la coloanele din hol [i la parapete. Aceste elemente desf`[oar` un vast repertoriu de motive brâncovene[ti, care speculeaz` din plin frumuse]ea pietrei de Albe[ti. La exterior, fa]ada principal` este dominat` de corpul central, decro[at, masiv, pe toat` l`]imea holului de recep]ie. Portalul monumental, arcuit semicircular, descarc` logia de la etaj, prin trei arcuri înalte, cu deschideri trilobate [i coloane robuste. Între arce, panouri de piatr` traforat`, decorate de asemenea în stil brâncovenesc, îndulcesc masivitatea volumelor. Corpul central are un acoperi[ independent, cu strea[ina arcuit`, peste un grup de trei ferestre ale mansardei [i este flancat de dou` mici turnuri, fiecare cu acoperi[ separat. Se poate spune c` aceast` preferin]` pentru acoperi[uri separate pentru fiecare volum în parte este o caracteristic` a caselor desenate de D.I. Berechet. Turnurile masive, de col], c`rora li se adaug` turnurile din flancul central al fa]adei principale, au zid`ria str`puns` de câte o fereastr` la parter [i la etaj, ceea ce le confer` un aer medieval. Ferestrele mici, cu deschideri în arc frânt, ancadramentele [i baghetele încruci[ate subliniaz` aerul gotic al cl`dirii, devenit` efigie a ora[ului. Pân` într-atât încât, în zilele noastre, primarul unui ora[ francez înfr`]it cu Câmpulungul de Muscel [i-a dorit o replic` a cl`dirii, în urbea sa natal`.

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The year 1928 was a prolific one for architect D. I. Berechet. It was the year he received the Official Architecture Salon Award for his project to refunctionalize {tef`nescu House, the year he finished work on the Iorgu Anastase Villa and the same year he began work on the current headquarters of City Hall, a building that at that time functioned as prefecture of the town. The construction, completed in 1934, would employ the same symmetrical, conventional scheme utilized for the old City Hall building, currently the Tudor Mu[atescu Culture House. The architectural idea is remarkable in its balance between the monumentality of the spaces and the softness of the decorations, particularly for the exterior, the honour steps, the columns in the hallway and the parapets. These elements use a vast range of motifs from the age of Constantin Bråncoveanu, speculating the beauty of the Albe[ti stone. On the outside, the main facade is dominated by the cutout, massive central volume occupying the entire width of the welcoming hallway. The monumental arched porch supports the loggia on the top floor with three tall, three-leafed arches and robust columns. Between the arches, wrought stone panels decorated in the same Bråncoveanu-age style, soften the raw mass of the volumes. The main volume has an independent roof with an arched eave hanging above a group of three windows in the attic, and is flanked by two small towers, each with a separate roof. It may be said that this preference for separate rooftops for each volume is characteristic of the houses designed by D. I. Berechet. To the massive corner towers the architect added the towers flanking the central part of the main facade, their walls, pierced here and there by a window, giving them a medieval look. Small windows with broken arched openings, interlacing framings and moldings – these elements emphasize the Gothic air of the building, and make it worthy of being a town effigy. So much so that the current mayor of a French sister city of Cåmpulung of Muscel wanted to build a replica of the building in his hometown.


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[coala

Carol I school

Legenda spune c` regele Carol I a vrut s` construiasc` Pele[ul la Câmpulung, dar câmpulungenii nu i-au vândut p`mânt. Astfel c`, pe terenul [i din materialele care ar fi trebuit folosite, s-a construit cl`direa care ad`postea prima [coal` pentru formarea înv`]`torilor din România. Construc]ia a fost inaugurat` în 1896 [i a ad`postit prima institu]ie pentru formarea înv`]`torilor din România. Aceast` institu]ie func]ionase la Bucure[ti, din 1867 dup` decretarea, în 1864, a înv`]`mântului primar obligatoriu [i fusese mutat` la Câmpulung. Ion N. Socolescu, semnatarul proiectului arhitectural, a adoptat solu]ia pe care Ion Mincu a des`vâr[it-o la {coala Central` de Fete din Bucure[ti, cu planul centrat în jurul unei frumoase cur]i interioare, [tiut fiind faptul c` cele dou` edificii s-au ridicat simultan, în ultimul deceniu al secolului al XIX-lea. La {coala Normal` Carol I, din corpul central, la jum`tatea laturilor de nord [i de sud, sunt articulate simetric, prin coridoare scurte, alte dou` corpuri laterale. Decora]ia policrom` din care nu putea lipsi piatra de Albe[ti, la care se adaug` ceramica decorativ` [i c`r`mida aparent`, adun` la un loc motive clasice [i orientale sau, dup` caz, subliniaz` caracterul rafinat al arhitecturii tradi]ionale române[ti. Este un ansamblu impun`tor, cu peste 100 de înc`peri, amfiteatru, [coal` de aplica]ie [i construc]ii anexe. În 1903 a fost primul edificiu iluminat electric din Câmpulung. Doar trei ani mai târziu, func]iona deja aici Orchestra elevilor {colii Normale Carol I, dirijat` de profesorul Iacob Sibianu. Din fotografii de epoc` ne privesc mândri, încrunta]i sau mira]i elevii clasei a doua, înso]i]i de profesorul lor cu p`l`rie cu boruri mici [i tari, cu ochelari [i favori]i. În 1932 a absolvit {coala Normal` profesorul Ioan Gh. Marinescu, cel ce avea s` devin` director al acestei institu]ii [i autorul monografiei {coala Normal` Carol I – trei p`trimi de veac de activitate (1943). Ast`zi se nume[te Colegiul Pedagogic, îns` {coala Normal` s-a numit dintru început Carol I, ca un omagiu sau, de ce nu, ca o repara]ie.

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Legend has it that King Charles the 1st wanted to build the Pele[ Castle in Cåmpulung, but the people of Cåmpulung wouldn't sell him the land. So on the land and from materials intended for the palace another building was erected and inaugurated in 1896 – the first teacher formation program in Romania. This institution had functioned in Bucharest since 1867, following the 1864 decree that primary school was compulsory for all citizens, and was moved on this occasion to Cåmpulung. Ion N. Socolescu, the architect who signed the project, adopted a solution previously used by Ion Mincu for the Central Girl's School in Bucharest, with the entire layout centered around a beautiful interior courtyard – and it is a well-known fact that both buildings were erected simultaneously in the last decade of the 19th century. In the Charles the 1st Normal School, from two sides of the central wing, the northern and southern, two side-wings are symmetrically articulated through two short corridors. The polychromatic decorations that of course had to include Albe[ti stone, to which the designer added decorative ceramics and visible brick, bring together classical and oriental motifs, or, in some cases, highlight the refined character of traditional Romanian architecture. It is an impressive ensemble, with over 100 rooms, an amphitheater, an applied teaching school and annex constructions. In 1903, this was the first building in Cåmpulung to be powered with electricity. Just three years later, the Student Orchestra of the Charles the 1st Normal School had been established and was conducted by professor Iacob Sibianu. Photographs taken in those days reveal the proud, frowning or wonder-filled eyes of second year students accompanied by their teacher, wearing a short, hard brimmed hat and glasses, and sporting whiskers. In 1932 prof. Ioan Gh. Marinescu graduated from the Normal School – he would become principal of the institution and author of a monograph entitled Charles the 1st Normal School – Three Quarters of a Century of Activity (1943). Today, the school is called the Pedagogy College, but the Normal School was always called Charles the 1st as an homage, or why not, as reparation.


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CÂMPULUNG MUSCEL. SCHI}E PENTRU O MONOGRAFIE ARHITECTURAL~

hotel

Regal hotel

Efigie a ora[ului Câmpulung, datând înc` de la sfâr[itul secolului al XIX-lea, Hotelul Regal apare deja în primele c`r]i po[tale ilustrate, din care ne zâmbesc turi[ti afla]i în vilegiatur` [i doamne cochete, cu umbrele, îmbr`cate dup` moda de la Paris. Primul proprietar pare a fi fost Ni]` {tef`nescu, dup` numele pe care hotelul l-a purtat în epoc`. Cu vremea, numele i s-a schimbat, din Marele Hotel Regal, în Iezer, Unirea, sau Unic, dup` caz. Trei str`zi î[i disput` a[ezarea sa: Negru-Vod`, Pia]a Jur`mântului [i strada Republicii, iar cl`direa, monument în stil eclectic, cu elemente de Art Nouveau, are pentru fiecare strad` o alt` propunere. La parter se aflau pr`v`lii, de unde s-ar fi putut procura souvenir de Campo-longo, etajul [i mansarda fiind destinate caz`rii turi[tilor veni]i la b`i. Interiorul este str`b`tut de un lung coridor, în form` de U, pe ale c`rui laturi se în[ir` camerele însorite, cu ferestre ce ofer` o vedere ampl` asupra ora[ului. Dou` volume dominante, de form` circular`, acoperite cu câte o ampl` cupol`, dau monumentalitate edificiului. Unul este amplasat spre Pia]a Jur`mântului, iar cel dinspre pia]a Negru Vod` ad`poste[te apartamentul regal, cu un salon rotund, care valorific` la maximum orele însorite [i priveli[tea panoramat`. Ferestrele înalte, dreptunghiuri supraîn`l]ate cu arce în plin cintru, prezint` în registrul inferior casete cu rozete decorative. Stilul eclectic, de influen]` francez`, cu palide urme de Art Nouveau este vizibil mai cu seam` în elementele decorative (balcoanele în consol`, cu balustrade de fier forjat, corni[ele profilate cu console din piatr` sculptat`, stucaturile dintre ferestre), dar [i în elementele definitorii ale acoperi[ului, cu pant` abrupt` [i lucarne. În timp, hotelul a suportat interven]ii minime de conservare, unele mai pu]in inspirate, cum este înlocuirea tâmpl`riei originare de la parter. Un lucru r`mâne îns` cert: starea sa actual`, de par]ial abandon, cu greu las` s` se ghiceasc` elegan]a [i confortul pe care le oferea odinioar` oaspe]ilor s`i spa]iosul [i însoritul Hotel Regal.

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An effigy of the town of Cåmpulung dating back to the end of the 19th century, the Royal Hotel appears on the very first illustrated post cards in which we find holiday-makers and coquette ladies in umbrellas dressed according to Parisian fashion. The first proprietor seems to have been Ni]` {tef`nescu, judging by the name of the hotel during those years. With time, its name changed, from Grand Royal Hotel into Iezer, Unirea or Unic, respectively. Three streets dispute its location: Negru-Vod`, Oath Square and Republic Street, while the building, an eclectic monument with elements of Art Nouveau, displays a different stylistic proposal for each street front. On the ground floor we used to find shops were one might have been able to purchase souvenir de Campo-lango, while the top floor and the mansard held the chambers for tourists visiting the baths. The interior is run-through by a long, Ushaped corridor on either side of which we find a string of sunlit rooms with windows offering wonderful views over the city. Two dominating volumes, circular in shape, each covered by a dome, give the edifice an air of monumentality. One of the domes faces towards Oath Square while the other, facing Negru Vod` Square, hosts the Royal Apartment, with a round drawing room that takes full advantage of the sunny hours of the day and the panoramic view. At the base of the tall, elevated, full arched rectangular windows we find decorative rosettes. The eclectic style with French influences and pale traces of Art Nouveau is more visible in the decorative elements (cantilevered balconies with wrought iron balustrades, profiled cornices with sculpted stone moldings, moldings on the windows), but also in the defining elements of the roof, with steep slopes and skylights. With time, the hotel suffered minimal preservation interventions, some unexceptional ones as well, such as replacing the original woodwork on the ground floor. One thing is for certain: its current state of partial abandon makes it difficult to discern the elegance and comfort the spacious and sunny Royal Hotel once offered its guests.


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Casa de Muscel. Prezen]e urbane velt`, sobr` [i nobil`, în propor]ii egale, casa de Muscel este situat` la intersec]ia dintre arhitectura tradi]ional` româneasc` [i cea modern`, surprinse în expresia lor cea mai echilibrat`. Volumele, ordonate cartezian, demisolul în`l]at [i boltit, parterul înalt, cu pridvorul continuu, închis sau deschis, coloanele care preiau desc`rc`rile [i acoperi[ul piramidal, iat` câteva dintre elementele definitorii ale prototipului de cas` muscelean`, singura care poart` numele zonei de care apar]ine geografic [i spiritual. Pentru c` nu este mai pu]in adev`rat faptul c` acest tip de locuin]` î[i pune amprenta asupra celor ce o locuiesc, oferindu-le în fiecare moment al zilei prilej de calm, de contemplare, [i invitând perpetuu la o just` m`sur`. Adaptate la geografia locului, ridicate pe dealurile care se întâlnesc la fiecare pas, casele muscelene nu au parter [i etaj, a[a cum s-ar putea crede, ci un demisol [i un parter supraîn`l]at. Prin acest artificiu, comanditarul ob]ine dou` privilegii: pe de-o parte o vedere panoramat`, pe de alt` parte un demisol generos, pe care îl va folosi drept pivni]` sau locuin]`, dup` necesit`]i. Îns` elementul de rezisten]` al casei de Muscel r`mâne pridvorul, acest amplu spa]iu intermediar, prin care casa comunic` [i se comunic` pe sine în exterior. Se spune c` la Câmpulung soarele de la noi din ]ar` adast` cele mai multe zile pe an, a[a c` prispa, orientat` spre sud sau spre r`s`rit, aproape c` se impune de la sine. Atunci când este închis` cu sticl`, sala care se alc`tuie[te are un triplu rol: creeaz` registre continue de umbr` sau reflex, asigur` eficien]a

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termic` [i uneori mult c`utatul efect de ser`. Ferestrele au latura lung` a[ezat` vertical, ca lumina s` intre cât mai adânc în înc`pere. Iarna, când soarele este mai jos, c`ldura [i lumina se conserv`, iar vara, strea[ina umbrit` p`streaz` r`coarea. Deasupra deschiderilor pridvorului se afl` un spa]iu amplu, aparent f`r` func]ionalitate, care supraînal]` cl`dirile cu mai bine de un metru (fapt ce faciliteaz` mansardarea lor ulterioar`). Acest spa]iu face ca intradosul stre[inii s` nu fie vizibil pe fereastr`, iar la exterior se preteaz` decor`rii simple, discrete [i somptuoase în acela[i timp. Stâlpii [i balustrada pridvorului filtreaz` lumina, cern discret umbre [i ritmeaz` fa]adele. Cele mai des întâlnite motive decorative sunt cele geometrice, dreptunghiul simplu sau dublu, intarsiat în tencuiala balustradelor, rombul, rozeta, din]ii de fier`str`u, ocni]e oarbe, motive populare preluate [i resemnificate din perspectiv` urban`. Nu lipsesc, îns`, nici savantele stucaturi, forme organice sau vegetale, brodate în piatr` de Albe[ti de c`tre iscusi]ii me[teri pietrari italieni. Cu casa de Muscel, arhitectura urban` româneasc` reu[e[te s` se sustrag`, la începutul secolului trecut, prejudec`]ilor care planaser` asupra ei, timp de mai multe decenii: balcanism, art` minor`, construc]ie slab`, lemn [i sticl`, acoperi[ de [indril` [i geamlâc. Toate aceste elemente constitutive, puse în slujba func]ionalit`]ii [i a expresiei arhitecturale în egal` m`sur`, fac din casa de Muscel un reper notabil.


CÂMPULUNG MUSCEL. SKETCHES FOR AN ARCHITECTURAL MONOGRAPH

The Muscel House. Urban presences lender, sober and noble in equal proportions, the Muscel house finds itself at the crossroad of modern and traditional Romanian architecture, captured in their most balanced expressions. The volumes line up according to an almost Cartesian sense of structure, the high, vaulted semi-basement, the surrounding porch, closed or opened and the columns taking on the weight of the pyramidshaped rooftop, these are just a few of the defining elements in the prototypical Muscel house, the only type of house that bears the name of the region to which it belongs, geographically and spiritually. For just as Muscel is this house's home, so those to whom it is home have felt its influence and enjoyed the moments of calm and contemplation it offers, as well as its perpetual invitation to enjoy such moments with just measure. Adapted to the geography of the region, standing high on the hilltops you see at every step, these Muscel houses don't have a ground and upper floor as you might think, but a semibasement and an elevated ground floor. Through this artifice, the owner is granted two separate privileges: on the one side, a panoramic view, on the other, a generous semi-basement that can be used either as cellar or dwelling space, as preferred. But la ‘piéce de resistance’ in every Muscel house is most certainly the porch, this ample intermediary space by way of which the house communicates itself outwards. It is said that in Cåmpulung the sun in our country lingers for most of the days in a year, so the south or east facing porches are almost self-explanatory. When closed off with glass, the room they make up serves a triple purpose: creating continual areas of shadow or reflection, ensuring thermal efficiency

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and sometimes even achieving the much-desired greenhouse effect. The window's horizontal side is longer than the vertical so that sunlight can penetrate deeper into the rooms. During the winter, when the sun is lower in the sky, heat and light are preserved, and during the summer the shaded eaves keep the house cool. Above the openings of the porch there is a generous, apparently useless space that elevates the buildings by more than a meter (which leaves room for a mansard to be inserted at a later time). This space conceals the soffit of the eaves on the inside, when looking out from the window, while on the outside it is adequate both for simple and discrete decorations as well as for sumptuous embellishments. The pillars and balustrade of the porch filter light, discretely sift through shadow and provide rhythm for the facades. The most common decorative motifs are geometric, the simple or double rectangle etched in the paint of the balustrades, the diamond, the rosette, saw-teethed blind hollows, popular motifs borrowed and made to signify anew from an urban perspective. The scene would of course be incomplete without the presence of some expert moldings of organic or plant life motifs embroidered in Albe[ti stone by skilful Italian stone mason masters. With the Muscel house, Romanian urban architecture manages to throw off the burdensome prejudices of the past century, accusations that had lingered in the air for decades, of: Balkanism, minor art, weak composition, wood and glass, shingle rooftop and row windows. All of these constitutive elements put to work in the service of equal parts functionality and architectural expression, are what make the Muscel house a note worthy example.

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Strada Fra]ii Gole[ti nr. 68-74

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Strada Negru Vod` nr. 270

Strada Traian nr. 18

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Strada Fra]ii Gole[ti nr. 34

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Casa Edu (1857), strada. Negru Vod` nr. 264

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Casa Edu (1857), strada Negru Vod` nr. 264

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Strada Matei Basarab nr. 57 (fosta Jandarmerie)

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Strada Traian nr. 64

Casa Mu[etescu (sec. XX), strada Matei Basarab nr. 14

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SCHI}E PENTRU O MONOGRAFIE ARHITECTURAL~

SKETCHES FOR AN ARCHITECTURAL MONOGRAPH

50 lei

Salut`m ini]iativa igloomedia de a începe colec]ia de schi]e monografice cu municipiul Câmpulung Muscel, unul dintre cele mai interesante ora[e ale României din perspectiva patrimoniului arhitectural. Mizând pe for]a de convingere a imaginilor, sper`m ca albumul s` devin` un reper atât pentru speciali[ti, cât [i pentru publicul larg, atât pentru cunosc`torii urbei, cât [i pentru cei ce urmeaz` s` o descopere, [i, astfel, un instrument de promovare a valorilor culturale câmpulungene. C`lin Ioan Andrei, Primar Câmpulung Muscel Noiembrie 2012

We salute igloomedia's initiative to begin their monographic sketch series with the city of Câmpulung Muscel, one of the most interesting cities in Romania as far as architectural heritage is concerned. We are counting on the images to speak for themselves and we hope that this album will become an important reference both for specialists as well as for a wider audience, as much for those who are familiar with our city as for anyone about to discover it, thus acting as an instrument for the promotion of Câmpulung cultural values.

CÂMPULUNG MUSCEL

The fundamental message behind the architecture and urbanism of Cåmpulung is encoded in the quasi-complete "genome" it uses to illustrate the circulation and selection of architectural models. Circulation of expressions characteristic of both rural architecture and urban architecture, of models of the vernacular alongside examples of educated styles, of local creation alongside Western inspiration, as well as of a remarkable range of inter and outer-Carpathian models for organizing the land itself. (…) This album is only in part dedicated to the values of architecture and urbanism (…) because the images of porches shaded by eaves, or the musicality of wooden accolades and arches made of Albe[ti stone, as well as the details of the ironwork on the balconies or the traditional woodwork, the spectacular carpentry of the porch covers, all of these are architecture as much as they are the embodiment of the life-style of a community who knew how to interpret models, nurture ability and preserve values. Conf. phd. arch. Sergiu Nistor

CÂMPULUNG MUSCEL SCHI}E PENTRU O MONOGRAFIE ARHITECTURAL~ SKETCHES FOR AN ARCHITECTURAL MONOGRAPH

Mesajul fundamental al arhitecturii [i urbanismului Cåmpulungului st` \n „genomul” cvasicomplet pe care ni-l prezint` pentru a ilustra circula]ia [i selec]ia modelelor arhitecturale. Circula]ie \ntre expresiile specifice arhitecturii rurale [i cele ale celei urbane, \ntre modelele arhitecturii vernaculare [i stilurile celei culte, \ntre cea autohton` [i cea de inspira]ie occidental`, precum [i o remarcabil` exemplificare a circula]iei modelelor intra [i extra carpatice de amenajare a teritoriului. (…) Albumul este doar \n parte dedicat valorilor arhitecturii [i urbanismului, (…) pentru c` imaginile prispelor umbrite de stre[ini, ca [i muzicalitatea acoladelor de lemn sau paiant`, ori a arcadelor din piatr` de Albe[ti, ca [i detaliile feroneriei balcoanelor ori tåmpl`riei tradi]ionale, dulgheria spectaculoas` a foi[oarelor sunt tot atåt arhitectur` cåt sunt substan]ializarea stilului de via]` al unei colectivit`]i care [tia s` preia modele, s` construiasc` competen]e [i s` transmit` valori. Conf. dr. arh. Sergiu Nistor

C`lin Ioan Andrei, Mayor of Câmpulung Muscel November 2012

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