Director al Centrului CSAV și editor al CSAV Journal: Prof. Dr. Arh. Sergiu NISTOR - Consilier Prezidențial pentru Cultură și Culte, fost președinte la ICOMOS România și Secretar de Stat în Ministerul Culturii și Patrimoniului Național (2012-2013), membru al Departamentului de Istoria și Teoria Arhitecturii și Conservarea Patrimoniului, UAUIM
Secretar științific al Centrului CSAV: Asist. dr.arh. Ioana E. ZACHARIAS VULTUR - Departamentul de Istoria și Teoria Arhitecturii și Conservarea Patrimoniului, UAUIM, Membru activ OAR, editor revista ZEPPELIN, fost redactor revista ARHITECTURA 1906: https://www.linkedin.com/in/ioanaz/
Comitetul științific al CSAV Journal: Dr. Ligia FULGA – director, Muzeul Etnografic Braşov Prof.dr.arh. Kázmér KOVÁCS - membru al Departamentului de Horticultură, Universitatea Sapientia, Facultatea de Știinte Tehnice și Umaniste Dr. Christoph MACHAT – membru al Comitetului Executiv al ICOMOS lect.dr.arh. Gabriel PANASIU - Departamentul de Istoria și Teoria Arhitecturii și Conservarea Patrimoniului, UAUIM
Coordonator al CSAV Journal: Asist. dr.arh. Ioana E. ZACHARIAS VULTUR - Departamentul de Istoria și Teoria Arhitecturii și Conservarea Patrimoniului, UAUIM
Pagina web a publicației și centrului de cercetare: www.csav.ro Pagina Universității de Arhitectură și Urbanism „Ion Mincu” București : https://www.uauim.ro/en/research/dealufrumos/
Anuarul Centrului de Studii de Arhitectură Vernaculară UAUIM (Dealu Frumos) = ISSN 2068 – 472X
Design, traduceri & DTP :
Asist.dr.arh. Ioana E. ZACHARIAS VULTUR Arh. Ionuț PARASCHIV
Editura „Ion Mincu” Str. Academiei nr.18-20, București
In the opening
Dissertation extract Summer school
Summary
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Kengo KUMA Vernacular Architecture Arhitectura vernaculară Adina DOBROTĂ, coord. by Prof.Dr.Arch. Ana Maria ZAHARIADE Arieș Valley Valea Arieșului UAUIM - TU Wien Summer School at Dealu Frumos 2018 Meinhard BREILING I Marius VOICA Summer Schools in the Danube Region: Student Projects as Means for Development in Depopulated Regions I
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Școli de Vară în regiunea Dunării: proiecte ale studenților ca mijloace de dezvoltare în zonele depopulate
Dissertation extract Architectural guide
Petra IANU Revitalisation project in Dealu Frumos I Proiect de revitalizare la Dealu Frumos
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Oana ROTARIU I Toni CHERNEVA Cycling through history. Towards explorational tourism I Pedalând prin istorie. Către turism explorațional
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Zih-Cing CHANG Schnaps Genossenschaft - Abandoned spaces in fortified church will be reused as a liquor cooperative I Schnaps Genossenschaft - Spații abandonate în biserica fortificată vor fi reutilizate pentru cooperativă de lichior
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Lukas Valentin FLANDORFER More than churches. An approach to develop strategies for the economical future of the villages of Transylvania I Mai mult decât biserici. O abordare a dezvoltârii de strategii pentru viitorul economic al satelor din Transilvania
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Ana JANTEA, coord. by Assoc. Prof. Dr.Arch. Ștefan BÂLICI In-between borders. Influences from the Southern and Northern side of the Carpathians in the Upper Bran architecture Între hotare . Influențe din sudul și nordul Carpaților în arhitectura Branului de Sus
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K öllő MIKLÓS OAR - Architectural guide to integrate into the local specificity of the rural environment - extracts OAR - Ghid de arhitectură pentru încadrarea în specificul local din mediul rural - extrase
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Studio projects
Profile
Diploma project Workshop brief
Silviu PREDA Back to landscape for a contemporary architectural project Înapoi la peisaj pentru un proiect arhitectural contemporan
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Horia DINULESCU 195 House in a given context. The ”other home” on the seashore - G11E studio projects by Alexandra MÜLLER & Iulia ARMBRUSTER Locuință în context dat. „Celălalt acasă” de la malul mării - G11E proiecte de studio realizate de Alexandra MULLER & Iulia ARMBRUSTER Gabriela TABACU I Lorin NICOLAE I Bogdan-Ioan GUIU Community bicycle repair workshop - G26 studio project by Alin PĂTRUCĂ Atelier comunitar pentru reparat biciclete - G26 proiect de atelier de Alin PĂTRUCĂ
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Ștefan SIMION I Emil BURBEA MILESCU I Cristian BORCAN Territorial Bucharest - G23 studio project I Bucureștiul teritorial - G23 proiect de atelier
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Augustin IOAN Vernacular architecture as an instance of tectonics I Vernacularul ca instanțiere a tectonicii
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Chiara BERTOLIN I Agata MLECZKOWSKA I Marcin STROJECKI Tiepolo’s frescoes back to the natural light: the assessment of environmental risks Frescele lui Tiepolo înapoi în lumină naturală: evaluarea riscurilor de mediu
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Andreea-Ioana NICUȚ, coord. by Assist.Prof.Dr.Arch. Vladimir VINEA (Re-)înființarea unui loc: comunitate intențională și fundație culturală la Poienărei, Argeș The (Re-)creation of a place: intentional community and cultural foundation in Poienărei, Argeș
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VVITA Erasmus + Project Team Marius VOICA I Elena Cristina MÂNDRESCU I Mihaela HĂRMĂNESCU I Marina MIHĂILĂ I Andra PANAIT I Adrian MOLEAVIN I Alexandra AFRĂSINEI I Ioana E. ZACHARIAS VULTUR I Georgică MITRACHE I Magdalena STĂNCULESCU Vincenzo SAPIENZA I Ivo CALIO I Antonio GAGLIANO I Gianluca RODONO Luca FINOCCHIARO I Chiara BERTOLIN I Markus SCHWAI³
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Lofoten Peninsula and Eolian Archipelago: Vernacular architecture experiences in two Fisherman’s villages Peninsula Lofoten și Arhipelagul Eolian: experiențe de arhitectură vernaculară în două sate de pescari Calendar Reviews. Bibliography
C.S.A.V. 2018 activity calendar
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Silviu PREDA Critical opinion to: Sebastien Marot , Sub-Urbanism and the Art of Memory Opinie critică la: Sebastien Marot , Sub-Urbanism and the Art of Memory
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iu I
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Vernacular architecture Text written by Kengo KUMA for CSAV Journal, October 2017
I consider that “vernacular architecture” is about architecture where the relationship between people and materials is happily connected. I say so because buildings are made of materials and the materials had to been found and obtained near the site where the building would stand. Under such restriction, human beings and materials used to keep their conversations, which resulted in the architecture.
In the 20th century however, humans and materials were separated. Materials became available everywhere, and buildings
all over the world began to be built with concrete and steel, which led to an ending of the good relation between people and matters.
Books on vernacular architecture had been written already in the 20th Century, but the arguments there were mostly about forms or styles, and discussions about materials were totally absent.
I would say that the most important “forgotten” material is wood. Wooden materials are born and rooted to the place. Furthermore, wood is so easy to work on that human beings have made their nests – the architecture – with wood since ancient times.
Professor Yoshichika Uchida, my most honored teacher from university, is the key figure who contributed to revive wooden
buildings in Japan. Professor Uchida used to say habitually that as for the wooden structure, Romania and Japan would build the best ones. His theory is based on the existence of Carpathian Mountains and the Black Sea in Romania, and the Pacific Ocean in Japan. According to Professor Uchida, these topographical features functioned as barriers protected their culture of wood, and Romania and Japan have been able to nurture technology to produce unique wooden constructions in their closed fields.
Since I heard Professor Uchida’s theory, I’ve always dreamt of the beauty and uniqueness of Romanian wood architecture.
Now, the mission assigned to both of us is that, having been born in the countries of wood, we truly revive our wooden buildings and create a modern version of vernacular architecture, which is tailored to the speed and density of our time.
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Arhitectura vernaculară
text scris de Kengo KUMA pentru CSAV Journal, Octombrie 2017
Consider că „arhitectura vernaculară” reprezintă arhitectura în care relația între oameni și materialitate este una fericită.
Spun asta deoarece clădirile sunt făcute din materiale de construcții, iar materialele trebuiau căutate și extrase din apropierea șantierului. Sub asemenea constrângeri, oamenii și materialitatea dialogau, ceea ce a generat arhitectura.
Cu toate acestea, în secolul al XX-lea, oamenii și materialitatea sunt separate. Materiale de construcții sunt disponibile
oriunde, iar clădirile din toată lumea au început să fie construite din beton și oțel, ceea ce a condus la un final al bunei relații între oameni și materialitate.
Cărți pe tema arhitecturii vernaculare au fost scrise deja în secolul al XX-lea, dar argumentele acolo au fost în mare parte
despre forme sau stiluri, și discuțiile despre materiale erau total absente. Aș spune că cel mai important material „uitat” este lemnul. Materialele cu lemn / din lemn sunt născute și înrădăcinate la fața locului. Mai departe, lemnul este atât de ușor de prelucrat, încât oamenii și-au făcut cuiburile – arhitectura – cu lemn din timpuri antice.
Profesorul Yoshichika Uchida, mentorul meu cel mai onorat din universitate, este figura cheie care contribuia la revigorarea
clădirilor din lemn în Japonia. Profesorul Uchida obișnuia să spună că în ceea ce privește structura din lemn, România și Japonia le-ar construi pe cele mai bune. Teoria sa se bazează pe existența Munților Carpați și pe Marea Neagră în România și Oceanul Pacific. Conform celor spuse de profesorul Uchida, aceste caracteristici topografice care funcționau ca bariere își protejau cultura lemnului, iar România și japonia au putut astfel să-și „îngrijească” tehnologia de a produce construcții unice în arealul lor închis.
De când am auzit teoria profesorului Uchida, întotdeauna am visat la frumusețea și unicitatea arhitecturii din lemn din
România. Acum, misiunea acordată amândorura (arhitecți japonezi și arhitecți români), năascuți fiind în țări ale lemnului, să revigorăm cu adevărat clădirile noastre din lemn și să creem o versiune modernă a arhitecturii vernaculare, adaptată / pliată / adecvată vitezei și densității timpurilor noastre.
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Patrimoniu tehnic vernacular Itinerary of a vernacular voyage 2 coș de îngroșat coș de tras de păr fântână cu cai jug pentru potcovit și stănoagă piuă pentru lână (stofă) moară de vânt moară de apă teasc de stors ceara teasc pentru ulei Vineyard teasc pentru must teasc pentru vin teascul Meschendorf oloiniță șteamp aurifer vâltoare
Landscape
horiz
Productio n rural ism
”De Re Metallica”, Georgius Agricola, 1555
Ideea acestui număr al CSAV Journal a apărut în timpul workshop-ului internațional VVITA Erasmus + 2018, odată cu vizita într-un vechi sat de pescari din Peninsula Lofoten, Norvegia. (v. pag. 305).
tte
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Dig i t adespre L un sit de patrimoniu vernacular de secol XIX, încă locuit, în care se poate observa o tipologie arhitecturală reprezentată Este vorba de locuințe și ateliere de pescari sau de bărci din lemn, construcții parțial așezate deasupra malului stâncos al mării, pe stâlpi din lemn. Un loc aparte între aceste construcții îl ocupa un teasc de ulei de pește, cu toate mecanismele din metal și lemn încă funcționale. Se poate observa nu doar o tehnologie răspândită pe întreg teritoriul Europei și mai departe, dar și modul prin care patrimoniul tehnic rămâne i m mpentru a t e mai r i amulte l comunități and m a t e r loc i a de l întâlnire și sistem ecologic, adaptat și noilor provocări climatice. un „reper mental” învecinate,
Ri
HERITAGE
u c s re care explorează situl rural și arhitectura vernaculară, între o g i Ediția CSAV Journal 2018 acoperă gama completă de lucrări academice r G Le Corbusier
Pe teritoriul României, astfel de sisteme paleotehnice rurale din perioada medievală sau de secol XIX sunt expuse în muzee ale satului sau au rămas in situ . Poate acest patrimoniu tehnic rămas in situ să devină un răspuns post-industrial la revitalizarea satelor României ?
intermediary use
hieso selecție de proiecte de atelier, școli de vară, lucrări de disertație, diplomă și cercetări teorie și practică. Este vorba așadar despre grap o e g l ia doctorale pe subiectul pictor arhitecturii vernaculare din anii universitari 2017 și 2018, realizate în Universitatea de Arhitectură și Urbanism „Ion Mincu”, București, alături de articole semnate de specialiști și cercetători internaționali. Ioana ZACHARIAS VULTUR, coordonator
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Vernacular technic heritage The idea of this CSAV Journal edition appeared during the international workshop of VVITA Erasmus + 2018, while visiting an old fishermen village from the Lofoten Peninsula, Norway. (see page 305). It is a 19th century vernacular heritage site, still inhabited, where one can observe an architectural typology represented by wooden housing and fishermen or boat workshops, buildings partially arranged upon the cliffy seashore, on wooden piers. A special place among these dwellings is the fish oil press, with all the metal and wood mechanisms still working. One can observe not only a technology spread all over the territory of Europe and beyond, but also the way in which the technical heritage remains a ”mental landmark” for many neighbouring communities, a place for gathering and an ecological system, adapted also to the new climate challenges. On Romanian territory, such rural paleotechnical systems dating back from the Medieval Age or 19th Century are exhibited in village museums or are still ”in site”. Can this ”in site” technical heritage become a post-industrial answer to the revitalisation of Romanian villages ? The 2018 CSAV Journal edition covers the entire range of academic papers exploring the rural site and vernacular architecture, between theory and practice. Therefore it is about a selection of the 2017-2018 studio projects, summer schools, dissertation papers, diploma and doctoral research on the topic of vernacular architecture, created in or in the frame of the ”Ion Mincu” University of Architecture and Urbanism, accompanied by articles signed by specialists or international researchers. Ioana ZACHARIAS VULTUR, coordinator
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Proiect de revitalizare la Dealu Frumos Revitalisation project in Dealu Frumos
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stud. arch. Petra IANU Technische Universität Wien, Austria petra.ianu@gmail.com
Keywords: handcraft, revitalisation, rural space, cultural and architectural heritage, internal economy, brick,
The summer school - Summer semester 2018-, led by proffessor Meinhard Breiling from the Landscaping Institute of the University of Technology, Vienna in collaboration with the ”Ion Mincu” University of Architecture and Urbanism - Bucharest, under the guiding of associate proffessor Marius Voica, had as main purpose the revitalisation of the rural area in the Transylvanian region. As a case study example, Dealu Frumos has been chosen for our concepts and interventions. We were briefly taken by various experts through the history of the place, and found out that it is a very long and diverse one. The multitude of ethnical minorities plays a decisive role in the architectural space that has been handled. But the main problematic is that this region is facing with is the unnatural movement of the Saxon ethnicity (the one that has also grounded these villages) that has happend in the post-communist times and the imbalance that came after it. The Romanian and Romma population are now mainly inhabiting the rural space, but the young population, and the one that is still able to work, is constantly emmigrating to the Western Europe, leaving behind an alarmigly low number of population. As a consequence, the handcraft field has suffered also a dramatic loss. The poverty is present everywhere, and the cultural and architectural heritage is on the edge of ruin. That is why, my personal oppinion is that one should not rely only on the European Funding for RestaurationConservation of punctually chosen architectural objects, but also try to implement a sort of internal economy that begins from the local inhabitants themselves. I believe that a sollution for the social, as well as for the economical issues, would be the introduction of workplaces that revive the traditions of the craftwork in the area, and rising the awareness regarding their importance. My proposal would be the establishing of a handmade brick factory, which has various reasons for it: - the lost tradition of the brick making has begun since the first settlements of the Romma folk in the
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Transilvanian region, so this can also be a pillar in finding again the identity and heritage of the present local population. - the soil in the Hârtibaciu Valley/ Harbachthal is also appropriate for the production of this sort, given the fact that it consists mainly of clay. That leads to very low costs for transport and the aquiring of material. - this is a facilitation of workplaces that do not require any sort of higher education, and it can be executed by people of various ages. That enhances the chance of finding willig work craft also in this low populated area. - the main purpose of the end-product can be the restauration- conservation of the many existing projects of this sort, but also for the new building sites that embrace this traditional context of building. These arguments are, as said before, working on the economical, social and moral level.
Fig. 1. Examples of the further use of the Hand-made Brick products: rooftops in the old town of Sibiu; fortification wall of Sibiu; fortified church in Axente Sever village. Exemple de utilizare a produselor din cărămidă realizate manual: acoperișuri în orașul vechi
The selected soil is transported next to the factory place, kept in a 30cm hole in the ground in constant moisture, and then mixed in a big cilinder, which is moved normally by a horse tied to a pull which dictates the rotation movement. Out of the cilinder comes the right quantity and material consistance for a brick, which is then put on the tabel and formed in its wooden negative. The operation is not a complicated one, so that in the brick makery that we visited, in Apos village, the person doing this was repeating it approximately 500 times a day. The first drying phase happens outside on flat groung under the sun, and after that the bricks are moved in a big covered space which has a good ventilation (a barn). After which they have achieved the wanted consistency, the burning process can begin. The ovens can make between 20.000- to 40.000 brick per burning, these being only the traditional ovens we are talking about. They always have ventilation holes in the walls, so that the heat waves have their own movement.
CSAV Journal 2 0 1 8 73 Normally there take place only two to three burns a year, due to the climate drying conditions, because everything happen more or less in an open environment, in spite the rooftops. Seeing these whole process one has to understand that it is a very specialised niche of work, and that the products should be much more cherished than the industrial ones. The hope is that the awareness for the importance of this whole process can be raised, together with the importance of the cultural identity of the place.
Fig. 2. The making process of the brick product: modeling the brick in raw form; letting the brick dry in the sun; burning the brick in the oven. Procesul de realizare a produselor din cărămidă: modelarea cărămizii în formă brută; uscarea sub soare a cărămizii; arderea cărămizii în cuptor.
The burning process takes up to 5 weeks. The temperature also has its own phases: the first week starts with lower temperatures, because any sudden change can lead to cracks and loss of the static capacities. The second and third week it is reached a peak point, about 700-800 degrees Celsius, and the next phase is the cooling down, which also has to be made step by step. Normally the fuel used in this process is wood, dried grass, coal. For one brick is used approx. 1 kg of wood or 0,400 kg of coal.
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Fig. 3. Localisation Plan of the brick factory | 1:1000. Localizare. Planul fabricii de cărămidă | 1:1000.
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Fig. 4. Ground floor plan | 1:200. Planul parterului | 1:200.
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Fig. 5. Sections | 1:100. Secțiuni | 1:100.
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Fig. 6. Ground floor plan | 1:200. Planul parterului | 1:200.
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Hands-On | Conservation and Restauration project Another aspect of our excursion in Romania was the extension of the week with a practical course which implies the deeper understanding of the restauration work through taking part in the actual physical intervenions. Experts in the domain have been guiding us through the whole two weeks process. The balance between the theoretical part and the practical one was a great input and help, that considerably raised our awareness, involvement and education regarding these architectural objects. The course had been taking place in Daia village, also a small former Saxon settlement, with a fortified church, that is on the edge of ruin. The work itself was the rebuilding of a fallen barn guarding the entrance through the fortification wall. The first week started with the research and plans consisting in the original construction and binding details. After that it has been decided which parts of the old substance can be saved and reused. The step that followed were the theoretical explanations regarding the details and filling with the new substance, and then we applied it. The techniques we used through the whole process were only the traditional ones, and we tried to stick to the original construction principles even where we udes new wood. We did the same thing the following week by restaurating the wall itself, we have completed it with the old unaffected bricks and new ones, but hand made. The experience of working in field was one that deepened my understanding about restauration processes, and also inspired me in planning the brick factory project, because the barn principle is an efficient and generally useful one, encouringing also further adaptive reuse.
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