Buch "Thinking about Rural and Local Spirit"

| SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE

ISBN 978-3-200-05548-3 ISBN 978-606-19-0925-4

THINKING ABOUT RURAL AND LOCAL SPIRIT

DESIGN AND RESEARCH PROJECTS of the New Design University, St. Pölten, Faculty of Design – Department of Interior Architecture and Manual and Material Culture (AT); Transilvania University of Brașov, Faculty of Wood Engineering – Department of Wood Engineering and Design (RO), and the University of Architecture and Town Planning Ion Mincu, Faculty of Interior Architecture, Bucharest (RO). 2017 in collaboration with the Liceul Teoretic „Petru Rareș” Târgu Lăpuș, the Liceul Tehnologic „Grigore C. Moisil” Târgu Lăpuș and the community of Târgu Lăpuș.

THINKING ABOUT RURAL AND LOCAL SPIRIT

YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE

DESIGN AND RESEARCH PROJECTS of the New Design University, St. Pölten, Faculty of Design – Department of Interior Architecture and Manual and Material Culture (AT); Transilvania University of Brașov, Faculty of Wood Engineering – Department of Wood Engineering and Design (RO), and the University of Architecture and Town Planning Ion Mincu, Faculty of Interior Architecture, Bucharest (RO). 2017 in collaboration with the Liceul Teoretic „Petru Rareș” Târgu Lăpuș, the Liceul Tehnologic „Grigore C. Moisil” Târgu Lăpuș and the community of Târgu Lăpuș.

Gronegger, Thomas; Olărescu, Alin M.; Cionca, Marina; Marcu-Lapadat, Marius THINKING ABOUT RURAL AND LOCAL SPIRIT SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE ISBN 978-3-200-05548-3

Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar New Design University Privatuniversität GesmbH, Mariazeller Straße 97a, A-3100 St. Pölten All rights and the sole responsibility for the respective contributions lies with the authors.

Texts by: Thomas Gronegger, Alin M. Olărescu, Marina Cionca, Marius Marcu-Lapadat, Beatrice-Gabriela Jöger, Herbert Grüner, Ioan Vasile Abrudan, Ioan Muscu Under the auspices of: New Design University, St. Pölten (AT), Transilvania University of Brașov (RO), University of Architecture and Town Planning ”Ion Mincu”, Bucharest (RO) Supported by: New Design University, St. Pölten (AT); Kronospan Romania

Editorial team: Thomas Gronegger, Alin M. Olărescu, Marina Cionca, Biborka Bartha, Florin Nechita Layout: factumdesign.com Typeface: Meret, Ludwig Photodokumentation: Thomas Gronegger, Mihaela Șchiopu, Codruț Abdi, Benedikt Dekan, Elisabeth Fellner, Alin Olărescu Photo cover: Thomas Gronegger Translation: Marina Cionca, Bartha Biborka Lectorat: Andrea Kraus, Marina Cionca, Biborka Bartha, Alin M. Olărescu Printing smartprint.ro Thanks to: Herbert Grüner, Ioan Vasile Abrudan, Sergius Kodera, Johannes Zederbauer, Antónia Czika, Botond Bandi, Neil Harkess, Beate Cesinger

THINKING ABOUT RURAL AND LOCAL SPIRIT SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE

Descrierea CIP a Bibliotecii Naţionale a României Thinking about rural and local spirit: journal of 7 years design and crafts based research on site coord.: Olărescu M. Alin, Gronegger Thomas, Cionca Marina, Nechita Florin. - Braşov : Editura Universităţii „Transilvania", 2017 Conţine bibliografie ISBN 978-606-19-0925-4 I. Olărescu, Alin (coord.), II. Gronegger, Thomas (coord.), III. Cionca, Marina (coord.), IV. Nechita, Florin (coord.)

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ANDREA DEAK ◼ THERESA GEYER ◼ BERNADETTE HÖNICKL ◼ KINGA CSAKI ◼ JOHANNA RUTHNER ◼ IULIA LEANCU ◼ DORIS ZICHTL ◼ PETRE ŞERBAN ◼ ANCA DUŢĂ ◼ ELISABETH WATZEK ◼ KRISTINA BIGLER ◼ MARTIN RITT ◼ NOEMI MARTON ◼ BIANCA SCHÖNBICHLER ◼ CELIA CHIRU ◼ ANA MARIA GROZA ◼ ANDREEA MIRUNA PETRE ◼ BIANCA PRISĂCARIU ◼ EMIL ROATĂ ◼ NATALIA TALMAZAN ◼ ANDREEA POPA ◼ SIMION AXINTE ◼ ADRIANA TUDUCE ◼ ADRIANA ANGHEL ◼ MANUEL WEILGUNY ◼ ANDRA PANTEA ◼ CORINNA DANNINGER ◼ CAMINA NICOLAU ◼ BENEDIKT DEKAN ◼ IULIA RÂPEA ◼ SUSI SCHÄFERLE ◼ EMÖKE VAJDA ◼ SIMONE WERGER ◼ DRAGOȘ NAE ALEXANDRU ◼ MICHAEL WALKER ◼ RALUCA SCHENKER ◼ IOANA MOISE ◼ SOPHIE KESSLER ◼ LAURA UDRESCU ◼ MIRIAM FRANZOLAS ◼ MICHAEL ELLENSOHN ◼ KATHARINA LEHR-SPLAWINSKY ◼ ANDREEA COJOCARU ◼ MARC EIDLER ◼ CORINA FRASTELNI ◼ CONSTANTIN CHIRIAC ◼ DANIELA TRUȚĂ ◼ IONELIA BREBEANU ◼ ELISABETH NAPETSCHNIG ◼ LUKAS KERSCHBAUM ◼ ANDREEA CORNILĂ ◼ ATTILA HORVÁTH ◼ SPENDIER JEANETTE ◼ KÖCK MARIANNE ◼ LEVENTE BAGOLY ◼ PLASCH ELISABETH ◼ ALEXANDRA PĂTRAȘCU ◼ GEORG POPP ◼ CLAUDIA WIESMEIER ◼ ANCA CRACIUN ◼ ANDREEA CIUCU ◼ CORNELIA GUSENBAUER ◼ NICOLAE FOLA ◼ ELISABETH FELLNER ◼ BILEK MARCEL ◼ CÎCIU ROXANA-IOANA ◼ GIORGI GIULLIANA ◼ HÜBNER DIANA ◼ BREBEANU IONELIA (NELI) ◼ POSAWAD RALLOU ◼ MACOVEIU ALEXANDRA ◼ SCHOLZ MARISA ◼ MINCU LAVINIA CARMEN ◼ DECU MARIA ◼ OSWALD ANNA ◼ NEAGU ALEXANDRU ◼ DIACONU ANDREI ◼ SCHURAN MARC ◼ ŞELARU ANDREI– LAURENŢIU ◼ PUȘCĂȘOIU BIANCA ◼ FRANK JAKOB ◼ RÖSLER THOMAS ◼ ŞEREMET ELENA ◼ IORDĂCHEL NICOLETA ◼ POP GEORGE ◼ MICU FLORENTINA ◼ KYRAL LAURENZ ◼ BOSNJAK PATRICIA ◼ PRODAN ANCA ◼ GALBĂU ANDREI ◼ STADLMAYR ANDREAS ◼ MAXIM VLAD ◼ LANG BIANCA ◼ IORDACHE ADRIAN ◼ URKON CRISTINA ◼ PRANZL PHILLIP ◼ KALCHER FLORIAN ◼ KOLONOVITS LISA ◼ MUNTEANU ENIA ◼ PESAVA JULIA ◼ WANDALLER MELANIE ◼ BARCHIZEANU VLAD ◼ PIETRUȘEL LAURA ◼ MARC CRISTIAN ◼ KOHUT LEONIE ◼ GRIGORAȘ CĂTĂLIN ◼ ANGHELACHE VLAD ◼ IORDACHE DELIA ◼ BEYER-DESIMON NINA ◼ OMARSDOTTIR VERONIKA ◼ KRESBACH HEIDI ◼ RUSEVA RADOSTINA ◼ ANDREEA GEANĂ ◼ KUHN ANISSA ◼ GRAMBERGER ANNA ◼ DOBREAN FLAVIU ◼ VLAD GÂȚEIU ◼ ETTL JULIAN ◼ CEAUȘESCU ALEXANDRA ◼ TIEFENBACHER BETTINA ◼ WOLF SASKIA ◼ BAVCEVIC MARINA ◼ GEBESHUBER ALEXANDER ◼ CERNESCU RALUCA ◼ FECHTER ULLI ◼ VLĂDESCU CORINA ◼ BRĂGĂU GABRIELA ◼ NEAGU GEORGIANA ◼ LOIMAYER INES ◼ BINDER THERESA ◼ VESELEY LISA ◼ RUXANDRA NEDELCU ◼ REISENBERGER MORITZ ◼ ELIZA PALOŞ ◼ DIANA SAS ◼ HARALD MEHOFER ◼ FILIP DANIEL ◼ ROBERT CRISTIAN ENACHE ◼ MARIAN BĂRBOS ◼ ERIKA DENES ◼ DRAGOŞ HARET ◼ LORENA TULICI ◼ DANIELA DOLLACK ◼ EVELINE LIȚĂ ◼ ALEX LĂPUŞAN ◼ KLARA MARIA VOGGENDER ◼ DELIA POP ◼ ROXANA ZORZOLAN ◼ VICTOR SCHÖLL ◼ GEORGIANA PURCARU ◼ ANDREEA GHERMAN ◼ DIANA ALEXANDRA OANA ◼ MARIO MARX ◼ CĂTĂLINA DUMITRU ◼ MIRUNA ALEXANDRA GHEORGHE ◼ STEFAN RICHTER ◼ VICTORIA LIEBL ◼ GHEORGHE BEȘCHEA ◼ RAUL ȘTEFAN STATE ◼ THOMAS GRONEGGER ◼ ALIN M. OLĂRESCU ◼ MARIUS MARCU-LAPADAT ◼ BEATRICE GABRIELA JÖGER ◼ HERBERT GRÜNER ◼ IOAN VASILE ABRUDAN ◼ MIHAI ISPAS ◼ DEDICATED TO MARINA CIONCA ◼ CHRISTIAN KNECHTL ◼ MARIA CRISTINA TIMAR ◼ LIDIA GURĂU ◼ BIBORKA BARTHA ◼ KATHRIN BAUMGARTNER ◼ MIHAELA ȘCHIOPU ◼ IONEL IȘTOC ◼ NEIL HARKESS ◼ IOAN MUSCU ◼ VALERIU ION OLARU ◼ JULIA ZILLINGER ◼ FLORIN NECHITA ◼ ALEXANDRU ŞCHIOPU ◼ CRISTINA SABĂU ◼ ANDREA KRAUS ◼ SERGIUS KODERA ◼ JOHANNES ZEDERBAUER ◼ BOTOND BANDI ◼ NEIL HARKESS ◼ BEATE CESINGER ◼ CLAUDIU NEDEA ◼ MARIANA MELANIA POP ◼ ANAMARIA SUSANA ŞANTA ◼ FLORINA CIUPE ◼ MARTA COSMA ◼ DORIN VAIDA ◼ BURZO MIHAI ◼ ANTÓNIA CZIKA ◼ CODRUȚ ABDI ◼ DANIEL DĂMOC ◼ MARCEL NEMETI ◼ ALINA ŞAMU ◼ MARTIN MAURER ◼ POP MARIA ◼ AUREL BÂRSAN ◼ MITRU LEȘE ◼ VASILE KRAUS ◼ NECULINA CHIRA ◼ CORNEL IACOB ◼ ANTON PETRUȚ ◼ DOCHIA HORŢ ◼ MARIA CÂMPAN (TANTI TUŢI) ◼ VIORICA GHEDUŢIU ◼ FELICIA VIORICA MAN ◼ VIORICA VELE ◼ EVI MIKLOS ◼ VIORICA PAŞCA ◼ IULIANA INDRE ◼ OVIDIU CUREU ◼ VIOREL NODIŞ ◼ VALENTIN FAUR ◼ COSMIN GIURGI ◼ DORU OANA ◼ VIOREL COROIAN ◼ CĂLINA MÂRZAC ◼ FLORIN MÂRZAC ◼ ALEXANDRU PERŢA CUZA ◼ NICOLAE ŞERBAN ◼ IOAN HOJDA ◼ NICOLAE PIȚIŞ ◼ PAVEL DIN LIBOTIN ◼ IOAN ILIE BUCŞA ◼ MARIA LUCIA BUCŞA ◼ ROZALIA BISTRISCHI ◼ GAVRILĂ NICOARĂ – GAVRIŞ ◼ MARIOARA FILIP ◼ GHEORGHE NICHITA AND TO ALL VILLAGERS FROM DEALU FRUMOS ◼ TÂRGU LĂPUŞ ◼ ROGOZ ◼ LIBOTIN ◼ DEALUL CORBULUI AND LĂPUŞUL ROMÂNESC

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9 PRE-INTRODUCTION GRUSSWORT / CUVÂNT DE ÎNTÂMPINARE [ DE, RO ]

Prof. Dr. Herbert Grüner, Rector of the New Design University St. Pölten

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TRADIȚII ȘI CREAȚIE / TRADITIONS AND CREATION [ RO, EN ]

Prof. dr. Ioan Vasile Abrudan, Rector of the Transilvania University of Brașov

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PRIVEȘTE, OBSERVĂ, ÎNȚELEGE, INOVEAZĂ / WATCH, OBSERVE, UNDERSTAND, INNOVATE [ RO, EN ]

Conf.dr. Alin Olărescu (UTBv), prof. dr. Marina Cionca (UTBv), prof. dr. Beatrice-Gabriela Jöger (UAUIM); prof. dr. Marius Marcu-Lapadat (UAUIM)

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/ INTRODUCERE 14 EINFÜHRUNG THINKING ABOUT RURAL AND LOCAL SPIRIT

Seven Years of Design and Crafts Based Research on Site [ DE, RO ] Univ.-Doz. Dr. Mag. Art. Thomas Gronegger (NDU)

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28 SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE

Univ.-Doz. Dr. Mag. Art. Thomas Gronegger (NDU), prof.dr. Marina Cionca (UTBv), assist.prof.dr. Alin Olărescu (UTBv), assist.prof. dr. Ioan Muscu (UTBv), prof.dr. Cristina Timar (UTBv), prof. (NDU) Christian Knechtl, dr.arch. Biborka Bartha (UTBv), prof.dr.arh.

Marius Marcu-Lapadat (UAUIM), assist.prof.dr. Mihaela Șchiopu (UAUIM), lecturer dr. Ionel Iștoc (UAUIM)

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2011 Brașov/BRASSO/KRONSTADT 8th–14th May Window and Wall Idea & Spirit [ EN ] Zusammenschau / Privire de Ansamblu [ DE, RO ] Programme in Short [ EN ] Photo documentation and short comments [ EN ] ...............................................................................................

2012 DEALU FRUMOS / SCHÖNBERG 13th–19th May Inside, Outside, In-between I Idea & Spirit [ EN ] Zusammenschau / Privire de Ansamblu [ DE, RO ] Programme in Short [ EN ] Photo documentation and short comments [ EN ] ...............................................................................................

2013 DEALU FRUMOS / SCHÖNBERG 7 –13 April 70 Inside, Outside, In-Between II. Working with a Village th

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Idea & Spirit [ EN ] Zusammenschau / Privire de ansamblu [ DE, RO ] Programme in Short [ EN ] Photo documentation and short comments [ EN ] ...............................................................................................

2014 DEALU FRUMOS / SCHÖNBERG 11th–17th May Interventions in Public Spaces. Rural Everyday and Festive Places Idea & Spirit [ EN ] Zusammenschau / Privire de ansamblu [ DE, RO ] Programme in Long [ EN ] Photo documentation and short comments [ EN ] ...............................................................................................

2015 DEALU FRUMOS / SCHÖNBERG 3rd–9th May Metamorphosis of a Household „All we need is time“ Idea & Spirit [ EN ] Synopsis [ EN ] Programme in Short [ EN ] Photo documentation and short comments [ EN ] ...............................................................................................

2016 DEALU FRUMOS / SCHÖNBERG 22nd–28th May Metamorphosis of a Household II Idea & Spirit [ EN ] Zusammenschau / Privire de ansamblu [ DE, RO ] Programme in Short [ EN ] Photo documentation and short comments [ EN ] ...............................................................................................

2017 TÂRGU LĂPUŞ, 13th–20th May People, Craft and Tradition Idea & Spirit [ EN, RO ] Synopsis [ EN ] Programme in Short [ EN ] Photo documentation and short comments [ EN ] ..........................................................................................

212 SURVEY OF THE COMMON ACTIVITIES

IN THE FRAME OF COOPERATION 2011–2017 [ EN ]

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218 PUBLICATIONS IN RELATION TO THE RESEARCH PROJECT [ EN ]

01

PRE-INTRODUCTION

DE RO GRUSSWORT

Prof. Dr. Herbert Grüner Rector of the New Design University St. Pölten, Austria

Die New Design University (NDU) hat in den letzten Jahren das gemeinsame Forschungsprojekt mit der Transilvania University of Brașov (UTBv) und der Ion Mincu University Bucharest (UAUIM) nachdrücklich unterstützt.

Als Spezialuniversität für Gestaltung versteht die NDU Forschung methodisch bzw. didaktisch betrachtet als interdisziplinäres, problemorientiertes und kontextabhängiges Tun, dessen Ergebnisse als Inhalte in alle relevanten Lehrveranstaltungen einfließen.

Der hohe Wert dieser Zusammenarbeit zwischen den verschiedenen Universitäten liegt nicht nur im eben skizzierten Bereich der Forschung, sondern auch darin, dass aufgrund der Workshops der letzten Jahre der direkte Austausch von Studierenden und Lehrenden fernab der jeweiligen Universität gefördert wird. Das Forschungsprogramm, das bereits seit sieben Jahren durchgeführt wird, beschäftigt sich mit Ursachen und Möglichkeiten von Umbruchsituationen – und dies nicht abstrakt, sondern konkret, kontextabhängig und problemorientiert: mit Blick auf das Dörfliche, das Ländliche und die Veränderungen sowie mit einer klaren handwerklich-gestalterischen Perspektive.

Die vorliegende Publikation „Thinking about Rural and Local Spirit“ basiert unter anderem auf einer Reihe gemeinsamer Workshops und deren Ergebnisse. So ist ein Panorama aus Entwicklungslinien und Querformaten entstanden, das sowohl experimentell Neues als auch Vorhandenes sowie Bewährtes einzeln aufzeigt und deren Beziehungen zueinander verdeutlicht.

Die umfangreichen Fotodokumentationen illustrieren nicht nur diese Ergebnisse, sondern stellen einen eigenständigen 9 | PRE-INTRODUCTION

CUVÂNT DE ÎNTÂMPINARE

Prof. Dr. Herbert Grüner Rector al New Design University St. Pölten, Austria

New Design University (NDU) a sprijinit constant și ferm proiectele comune de cercetare cu Universitatea Transilvania din Brașov (UTBv) și Universitatea de Arhitectură și Urbanism Ion Mincu din București (UAUIM).

Ca universitate dedicată în mod special creației și designului, NDU consideră că cercetarea privită din punctele de vedere metodologic și didactic este o activitate interdisciplinară dependentă de context și orientată către o anumită problematică ale cărei rezultate se integrează în toate formele relevante de expresie didactică.

Valoarea înaltă a acestei colaborări între universități se află nu numai în domeniul menționat al cercetării, ci și în faptul că pe baza workshopurilor din ultimii ani se stimulează schimbul direct de studenți și profesori, distanțându-i puțin de universitățile de care aparțin. Programul de cercetare care se desfășoară deja de șapte ani are ca obiect rațiunile și potențialul unor intervenții care generează schimbarea - și aceasta nu în mod abstract ci concret, în strânsă relație cu contextul și orientată către punerea și apoi rezolvarea problemelor. A fost astfel nevoie de examinarea stării satului, a elementelor rurale și a schimbărilor posibile, cu o perspectivă clară în domeniile creației și realizării practice.

Publicația care se află în fața dumneavoastră „Thinking about Rural and Local Spirit” este întemeiată, între altele, pe o serie de workshopuri comune și pe rezultatele acestora.

Astfel a rezultat o panoramă a direcțiilor de dezvoltare și extindere care prezintă și pune în relație atât experimentele noi cât și ceea ce este deja existent și valoros acolo.

Documentațiile fotografice cuprinzătoare nu au numai rolul de a ilustra rezultatele ci contribuie la rândul lor la împlinirea demersului cercetării.

Beitrag mit forscherischem Bezug dar.

Abschließend danke ich allen Lehrenden, Forschenden und Studierenden der drei Hochschulen für die vorzügliche langjährige und ergebnisreiche Kooperation und freue mich auf weitere gemeinsame Projekte.

În încheiere doresc să mulțumesc tuturor profesorilor, cercetătorilor și studenților celor trei universități pentru cooperarea excelentă, bogată în rezultate, care durează de mulți ani, și îmi exprim bucuria la gândul viitoarelor noastre proiecte comune.

RO EN TRADIȚII ȘI CREAȚIE

TRADITIONS AND CREATION

Prof.dr. Ioan Vasile Abrudan Rector al Universității Transilvania din Brașov (UTBv) România

Prof.dr. Ioan Vasile Abrudan Rector of the Transilvania University of Brașov (UTBv) România

Cartea Thinking about Rural and Local Spirit ilustrează în texte și mai ales în imagini șapte ani de proiecte de cercetare în design și tehnici artizanale, care s-au desfășurat între anii 2011 și 2017, într-un parteneriat benefic trilateral încheiat între New Design University din St. Pölten, Austria, Universitatea Transilvania din Brașov și Universitatea de Arhitectură și Urbanism Ion Mincu din București.

Caracterul cărții este original, el aduce în prim plan reușita acestui parteneriat, de la primele desfășurări ale cercetărilor în echipele mixte alcătuite din studenți, masteranzi, doctoranzi și profesori de la cele trei instituții de învățământ, până la structurarea din ce în ce mai complexă din ultimii ani a conceptelor și temelor de lucru.

Universitatea Transilvania a susținut de la început aceste proiecte, precum și continuitatea parteneriatului interuniversitar. Faptul că proiectele au beneficiat de această continuitate mai rar întâlnită, le conferă interes și atractivitate sporite. Modul de realizare și stimulare a lucrului în echipă este deosebit, iar în domeniul propriu acestor investigații, care

The book Thinking about Rural and Local Spirit describes in texts and especially images seven years of research projects in the fields of design and crafts, developed between 2011 and 2017 in a beneficial trilateral partnership between New Design University of St. Pölten, Transilvania University of Brașov and the University of Architecture and Town Planning Ion Mincu Bucharest.

The book is highly original, it is successfully highlighting this partnership, from its first developments of research in mixed teams – students, master and doctoral students and teachers from all three institutions, to the more and more complex structuring of the concepts and work assignments.

Transilvania University has supported these projects and the continuity of the inter-academic partnership from the very beginning. Indeed the fact that the projects have such unique continuity makes them even more interesting and attractive. The ways of building up the teamwork is special, and the field of this kind of investigations that is anchored in Romanian villages, first Dealu Frumos from Sibiu County then Târgu-Lăpuș from Maramureș, reflects the quality of the

10 | THINKING ABOUT RURAL AND LOCAL SPRIT

care este ancorat explicit în două localități din România, întâi satul Dealu-Frumos din județul Sibiu și apoi orășelul TârguLăpuș din Maramureș, denotă calitatea oportunităților oferite de specificul tradițiilor de locuire și organizare a gospodăriilor de la noi celor care le privesc cu ochi de designer, de arhitect, de artist.

Cartea este și un veritabil album, cu imagini din fazele de lucru principale, din momentele de comuniune de muncă dar și din momentele de relaxare și prietenie.

Mulțumim tuturor celor care au configurat succesul lucrului în echipă – care asigură și realizarea acestei cărți cuprinzătoare. Susținem cu fermitate continuarea acestor proiecte în parteneriat, mai ales datorită faptului că ele aduc o contribuție importantă nu numai cercetării științifice în acest domeniu, ci aduc experiențe noi și valoroase și în activitatea didactică precum și în căile de interacțiune cu studenții.

opportunities offered by the local households and the subsequent old and/or new lifestyle to those who look at them through the eyes of the designer, the architect, the artist.

The book is a true art album with images of the principal work phases, from the moments of sharing work, leisure and true friendship.

We thank all those who built up this successful teamwork – who are the same who built up the book. We firmly support the continuation of these projects that are based on a creative partnership, not only because they bring a substantial contribution at the research results in this field, but also because they bring new and valuable experiences in teaching and interacting with students.

RO EN PRIVEȘTE, OBSERVĂ, ÎNȚELEGE, INOVEAZĂ

Conf.dr. Alin Olărescu, Prof.dr. Marina Cionca, Universitatea Transilvania din Brașov (UTBv), Prof.dr.

Beatrice-Gabriela Jöger, Prof.dr. Marius MarcuLapadat, Universitatea de Arhitectură și Urbanism Ion Mincu (UAUIM), București

Construcția și reconstrucția anuală a conceptelor de lucru în cadrul proiectelor care ilustrează specificul parteneriatului celor trei universități, NDU, UTBv și UAUIM, prezintă cititorului avizat similitudini cu identificarea și consacrarea ritualurilor de întemeiere a unei comunități umane de dimensiune temporară. Mircea Eliade vorbește despre „a regăsi dimensiunea 11 | PRE-INTRODUCTION

WATCH, OBSERVE, UNDERSTAND, INNOVATE Assist.prof.dr. Alin Olărescu, prof.dr. Marina Cionca, Transilvania University of Brașov (UTBv), prof.dr. Beatrice-Gabriela Jöger, prof.dr. Marius Marcu-Lapadat, University of Architecture and Town Planning Ion Mincu (UAUIM), Bucharest

The annual construction and reconstruction of the work concepts within the projects that illustrate the partnership of the three universities, NDU, UTBv and UAUIM, presents to the informed reader similitudes with the identifying and reinforcing the founding rites of a human community with a temporary

sacră a existenței în lume”. Consacrarea formulei de alcătuire a echipelor de lucru la workshopurile deja bine cunoscute de la Dealu Frumos și mai recent de la TârguLăpuș, prin efectele benefice vizibile ale acesteia, a devenit ca o mantră a fiecărui început. O invocare a zeilor tutelari ai muncii în echipă, ai parametrilor încă volatili ai prieteniei între tineri care nu s-au cunoscut înainte, și desigur ai zânelor care se îngrijesc de potrivirile providențiale și reușita celor întreprinse.

Primul pas, formarea grupurilor și realizarea identității de grup, are valoare de configurare și consolidare a fundamentului unui edificiu. Urmează, invariabil, stârnirea apetitului pentru cunoașterea interacțiunilor dintre oameni, natură și habitat în zona aleasă, ca premisă a unor intervenții creative cu rol de aprofundare a acestora.

Abordarea holistică și respectiv interdisciplinară a studiilor și cercetărilor preliminare asumată de către profesorul Thomas Gronegger (NDU) este echivalentă cu desfășurarea regulilor de construcție și consacrare a unui edificiu cu tradiție proprie. Nu este posibilă, credem, o altă abordare decât aceea de a pune omul în “centrul lumii” acesteia - după spusa lui Pico della Mirandola - în dubla sa ipostază, de generator de gânduri inovative și de subiect valoros al continuității tradiției.

La început de lucru în workshopul comun participanții privesc locul și natura înconjurătoare, observă, meditează, visează, iar cuprinderea prin înțelegere treptată a relației subtile dintre oameni și locuri stimulează capacitățile creative. În măsura în care putem vorbi de o cheie de înțelegere a succesului acestor șapte proiecte, aceasta este permanenta raportare la om în fiecare fază de lucru, inclusiv cea de realizare practică, fie sub formă de machetă la scara 1:10 sau 1:1, fie de construcție finală completă a unui obiect.

Cartea de față, pe de-o parte prin panoramarea activităților anuale timp 12 | THINKING ABOUT RURAL AND LOCAL SPRIT

dimension. Mircea Eliade talks about „finding the sacred dimension of the existence in the world”. The reinforcing of the formula of the structuring of the groups for the already well known workshops from Dealu Frumos and since last year Târgu-Lăpuș, through its visible beneficial effects, became like a mantra of every beginning. An invocation of the tutelary gods of teamwork, of the still volatile parameters of the friendship beween young people who never met before, and of course of the fairies who are supposed to take care of the providential matching of things and the success of the venture.

The first step, to structure the groups and build up their identity, has the configurative and consolidating value of the foundation of a dwelling. The next one is invariably the stirring up of the appetite for understanding the interactions between people, nature and habitat in the chosen area, as premise of a creative intervention with the intention of deepening them.

The holistic and interdisciplinary approach of our preliminary studies and research assumed by professor Thomas Gronegger (NDU) is equivalent to the developing of the construction rules and dedication of a dwelling with its own tradition. We believe that it is not possible to have an approach other that one which puts the human being „in the center of the world” – as Pico della Mirandola said - in its double hypostasis, of a generator of innovative thoughts and a valuable subject of the continuity of tradition.

When work begins in the common workshop the participants watch the place and the surrounding nature, they observe, meditate, dream and the enclosing by gradual understanding of the subtle relationship between people and places stimulates their creative capacities.

If we want to speak about the success of these seven projects, the key to understand it is the permanent relating to the human being in every phase of the work, including the crafting of the object, either full scale and small scale models, or final construction of an object.

de șapte ani și pe de altă parte prin evidențierea momentelor și acțiunilor care au stimulat înțelegerea și apoi creativitatea liber exprimată prin lucrul în echipă și lucrul individual, este o carte despre design și prietenie. De asemenea despre muncă, visare, glume și cântece și despre pregătitul împreună atât al salatei și spaghetelor cu brânză cât și al desenelor complexe și al discuțiilor argumentate despre viitorul locurilor unde se intervine creativ, sau despre extinderea efectelor exercitării unui meșteșug local amenințat de căderea în uitare.

Această publicație se constituie într-un model sui-generis al construirii originale a dimensiunii europene a unui proiect. Avem convingerea că anii care urmează îi vor reconfirma, completa și intensifica valoarea științifică, educațională și mai ales profund umană.

13 | PRE-INTRODUCTION

This book, that unfolds the panorama of annual activities during seven years and points out the moments and actions that stimulated the freely expressed creativity through team-and individual work, is a book about design and friendship. About working, dreaming, joking, singing and cooking together salads and cheese spaghettis, about complex drawings and endless discussions regarding the future of the places which interventions were designed, and about extending the effects of an almost forgotten craft.

The next coming years are going to reconfirm, complete and intensify its scientific, educational and especially human impact and value.

02

INTRODUCTION

DE RO THINKING ABOUT RURAL AND LOCAL SPIRIT

THINKING ABOUT RURAL AND LOCAL SPIRIT

Univ.-Doz. Dr. Mag. Art. Thomas Gronegger New Design University St. Pölten, Austria

Univ.-Doz. Dr. Mag. Art. Thomas Gronegger New Design University St. Pölten, Austria

SIEBEN JAHRE Das neue Buch über unsere gemeinsamen Workshops (der Transilvania University of Brașov, der New Design University und der Ion Mincu University Bucharest) stellt einen Rückblick auf die vergangenen sieben Jahre zusammen. Gerade findet ein Umbruch statt: der Übergang zu einem neuen Ort, Târgu Lâpuş, den wir bereits einmal bespielt haben und der wieder neue Richtungen und Entwicklungen hervorbringen wird.

So betten sich die Geschichten unserer Workshops, die nun fünf Jahre in Dealu Frumos stattfanden, zwischen das Auftaktjahr 2011 in Brașov und diesem neuen, in seinen viel versprechenden Möglichkeiten noch zu erkundenden Ort. Trotz der beiden bereits bestehenden Publikationen zu den ersten Workshops nehmen wir diese inhaltlich in das Panorama mit auf, da wir versuchen, aus dieser Übersicht Entwicklungslinien und Querbezüge im experimentellen Betreten von Neuland, im Erproben, Vertiefen und Schärfen eingeschlagener Suchrichtungen sowie aus der Kontinuität bewährter Programmpunkte und ihrer vorsichtigen Abwandlung herauszulesen.

ȘAPTE ANI Noua carte despre workshopurile noastre (ale Universității Transilvania din Brașov, New Design University St. Polten, Austria și Universității de Arhitectură și Urbanism Ion Mincu București) întocmește o retrospectivă a celor șapte ani de lucru împreună. Anul trecut s-a petrecut o schimbare – o mutare într-un loc nou, Târgu Lăpuș, schimbare care a atras noi direcții și dezvoltări. Poveștile workshopurilor noastre, care timp de cinci ani au avut loc în Dealu Frumos, începând din 2012 (în 2011 cel dintâi workshop s-a desfășurat la Brașov), se continuă în acest loc care oferă o arie largă de posibilități și prilejuri promițătoare. În ciuda existenței celor două cărți precedente realizate, care cuprind analizele și relatările privitoare la primele workshopuri, vom prelua și aici descrierea panoramică a structurii acestora, deoarece încercăm să identificăm din această privire de ansamblu linii de dezvoltare și interacțiuni în abordarea experimentală a unor teritorii noi, în verificarea, aprofundarea și clarificarea direcțiilor de cercetare asumate, în descifrarea celor mai valoroase puncte din program care au avut o continuitate vizibilă, precum și în prefigurarea prudentă a unor schimbări sau evoluții în viitor.

Seven Years of Design and Crafts Based Research on Site

STRUKTUR DER PUBLIKATION Die Publikation stellt die Workshops von 2011–2017 in sieben Abschnitten dar, deren Kern jeweils eine umfangreiche Fotodokumentation bildet. Einführend wird in jedem dieser Abschnitte die jeweilige Zeitperiode, der Titel und die 15 | INTRODUCTION

Seven Years of Design and Crafts Based Research on Site

STRUCTURA PUBLICAȚIEI Cartea prezintă workshopurile din perioada 2011–2017, în șapte secțiuni al căror nucleu este o foto-documentare consistentă. În partea introductivă a acestora sunt listate perioada de timp, titlul, lista participanților studenți

teilnehmenden Studierenden sowie die konzipierenden und unterrichtenden Lehrenden, OrganisatorInnen und Gäste aufgelistet.

Es folgen dann kurze Einführungen in „IDEA & SPIRIT“ – Textausschnitte, die den originalen Programmen entnommen wurden und der Hinführung der Studierenden dienten. Diese Ausschnitte sind so gewählt, dass ihre Kompaktheit und Unmittelbarkeit authentisch Anliegen und Haltung vermitteln.

Darauf folgt jeweils eine „ZUSAMMENSCHAU“, die die oben genannten Entwicklungslinien nachzeichnet, Besonderheiten charakterisiert und Querbezüge zu vorhergehenden oder nachfolgenden Jahren reflektiert. Teils sind aber auch hier Textabschnitte direkt den Programmen entnommen und führen unmittelbar in die Arbeits- und Gestaltungswelt hinein.

Diesen Wechsel distanziert reflektierender und unmittelbar eindringender Blickwinkel erlauben wir uns, weil in der Gesamtheit – trotz und wegen dieser leichten Brüche – ein Bild der Vielschichtigkeit der Entwicklung unserer Workshops entsteht, das bei einer vereinheitlichenden Glättung verloren ginge. Letztlich leben diese Workshops nicht nur aus geradliniger vorausschauender methodischer Planung, sondern erfordern vor Ort immer ein hohes Maß an Improvisation. Wir versuchen, Zufall und besondere Dynamiken sowie unvorhersehbare Umstände möglichst als inspirative Quellen im Moment einzubauen.

In dieser Zusammenschau sind zu angesprochenen Themen keine Verweise auf die jeweils nachfolgende fotografische Dokumentation eingearbeitet, da dort die Bildstrecken zu Themen gebündelt, mit jeweils zugeordneten kurzen Kommentaren den Ablauf in der Art von Bildgeschichten nochmal erzählen.

Diese „FOTODOKUMENTATIONEN“ sind das eigentliche Herz des Buches. In lockerer Chronologie versuchen sie, wesentliche 16 | THINKING ABOUT RURAL AND LOCAL SPRIT

precum și a celor care s-au aflat pe pozițiile de concepție, predare, organizare, precum și a celei de invitați.

Urmează scurte introduceri în partea intitulată IDEA & SPIRIT – fragmente de text, preluate din programele originale și care au fost utile celor care începeau studiul. Aceste fragmente au fost în așa fel alese, încât să transmită, fiind condensate și directe, preocupări și atitudini autentice PRIVIREA DE ANSAMBLU subliniază liniile de dezvoltare specifice, evidențiază și caracterizeză particularitățile și trăsăturile transversale, ref lectând cele întâmplate în anii respectivi. Parțial sunt și aici preluate fragmente de text direct din programe, acestea conducând nemijlocit către substanța însăși a muncii și activităților de concepție. În cele din urmă, aceste workshopuri trăiesc nu numai prin traseul în linie dreaptă al planificării metodice, ci adesea și prin recurgerea la improvizații alcătuite la fața locului. Încercăm să integrăm astfel întâmplătorul, dinamicile diferite precum și împrejurările neprevăzute, în așa fel încât acestea să devină pe cât posibil izvoare de inspirație ale momentului. În această Privire de ansamblu nu sunt cuprinse trimiteri la documentația foto referitoare la temele abordate, având în vedere faptul că acolo imaginile sunt prevăzute cu mici comentarii care reiau și narează tematica respectivă.

DOCUMENTAȚIILE FOTO sunt adevăratul nucleu al cărții. Într-o cronologie relaxată, ele sunt menite să arate fazele esențiale ale workshopurilor și să fixeze documentar procesele de lucru, activitățile deosebite de concepție și design precum și ambianța de lucru a participanților și specificul locului, înfățișând spiritul inerent al cooperării și al atmosferei create. Astfel documentațiile foto sunt în așa fel organizate încât să funcționeze în mod independent ca trasee imagistice care asigură prin textele aferente câteva informații de bază, privitorii lăsându-se apoi în voia traseului vizual.

Phasen der Workshops zu zeigen und im dokumentarischen Festhalten von Arbeitsprozessen, von besonderen gestalterischen Arbeiten sowie der Arbeitsumgebung, der Teilnehmenden und des Ortes den inneren Geist der Zusammenarbeit und verschiedene Atmosphären zu portraitieren. Die Fotodokumentationen sind also so organisiert, dass sie unabhängig als Bildstrecken funktionieren, die durch Untertitel mit Grundinformationen versorgt sind und es den Betrachtern ermöglichen, sich auf den Ablauf vorwiegend visuell einzulassen.

In jedem der sieben Abschnitte lässt ein „PROGRAMME IN SHORT“ die Taktung und Dramaturgie der Workshops rekonstruieren. An den zunehmend dichter werdenden Programmen kann man ablesen, wie fein justiert der Ablauf aufgebaut und abgestimmt wurde.

Wir versuchten auch, teils gekürzte Fassungen der Aufgabenstellungen in die Programme einzuarbeiten. Diese stellen einen reichen Fundus didaktischer Entwicklungsarbeit und Erfahrung dar, die in diesem Buch dokumentiert werden sollte. Ein „PROGRAMME IN SHORT“ wurde als „PROGRAMME IN LONG 2014“ bezeichnet. Hier sind vertiefend Berichte zu Abendveranstaltungen und Rezepte unseres täglichen Kochens eingearbeitet.

Die ausführliche Darstellung auch dieser Aktivitäten sollte eine exemplarische Vorstellung vermitteln, wie bei den Workshops Ort, Thema, das Verbringen der gemeinsamen freien Zeit – verknüpft mit notwendigen gemeinschaftlichen Aufgaben – eine unlösbare Einheit bilden.

Außerhalb der sieben Abschnitte fasst eine „ÜBERSICHT ZU GEMEINSAMEN AKTIVITÄTEN IM RAHMEN DER KOOPERATION 2011–2017“ zu allen Workshops die Vorbereitungstreffen und die vielen Ausstellungen in Brașov, Bukarest und Wien zusammen, die inzwischen stattgefunden haben und 17 | INTRODUCTION

În fiecare din cele șapte secțiuni, secvențele numite „PROGRAMME IN SHORT” reconstruiesc calendarul și „dramaturgia” workshopurilor. În programele din ce în ce mai dense se poate observa cât de precis a fost construită și reglată desfășurarea acestora. De asemenea am încercat să încorporăm câteva versiuni scurte ale temelor de lucru din proiecte. Acestea reprezintă un veritabil tezaur de experiențe în dezvoltarea didactică, care va fi documentat în această carte. Un «PROGRAMME IN SHORT» a fost desemnat ca «PROGRAMME IN LONG 2014». Aici sunt incluse rapoarte detaliate despre evenimentele fiecărei seri și chiar și despre rețetele bucătăriei cotidiene.

Descrierea detaliată a acestor activități ar trebui să transmită ideea exemplară privitoare la faptul că în cazul unor astfel de workshopuri, locul de desfășurare, tematica, petrecerea împreună a timpului liber alături de rezolvarea temelor de lucru formează o unitate indestructibilă. În afara celor șapte secțiuni, cea dedicată PRIVIRII DE ANSAMBLU ASUPRA DOMENIULUI DE ACTIVITĂȚI COMUNE ÎN CADRUL COOPERĂRII 2011- 2017 reprezintă o sinteză a tuturor workshopurilor, reuniunilor pregătitoare și numeroaselor expoziții din Brașov, București și Viena care s-au desfășurat până acum și sunt parte integrantă din activitățile de cercetare. O sinteză separată este dedicată PUBLICAȚIILOR aferente workshopurilor (aceasta este cea de-a treia carte a noastră), precum și tematicilor respective care au fost redactate de către membrii echipelor.

TEXTE, IMAGINI, OPȚIUNI ASUPRA LIMBILOR UTILIZATE Textele alcătuite au fost potrivite pe baza arhivei noastre cuprinzând protocoale, liste de participanți, programe, texte pregătitoare, teme de lucru și mesaje într-o viziune comună care este aici în mare parte reconfigurată.

Fotografiile au fost realizate între anii 2011 și 2016 de către Thomas Gronegger, Mihaela Șchiopu și lonel Iștoc, iar în anul 2017 de către

Teil der Forschungsaktivitäten sind. Den gemeinsamen „PUBLIKATIONEN“ zu den Workshops (mit dieser Veröffentlichung das dritte gemeinsame Buch) sowie zu Themen, die damit eng verbunden sind und von Personen, die dem Team angehören, veröffentlicht wurden, wird eine eigene Übersicht gewidmet.

TEXTE, BILDER, SPRACHEN Die Texte wurden auf der Basis unseres Archivs aus Protokollen, Teilnehmerlisten, Programmen, Vorbereitungstexten, Aufgabenstellungen und E-Mails in eine Zusammenschau gefügt, die daraus überwiegend neu verfasst wurde. Die Fotografien zu 2011–2016 wurden von Thomas Gronegger, Mihaela Șchiopu und lonel Iștoc aufgenommen und zu 2017 von Alin Olărescu und von Mihaela Șchiopu angefertigt. Die Bilder werden im Einzelnen nicht den Autorinnen und Autoren zugeschrieben.

Die Originaltexte und Inhalte beruhen auf der gemeinschaftlichen Arbeit von Thomas Gronegger, Marina Cionca, Alin Olărescu, Marius Marcu-Lapadat, Ioan Muscu, Christian Knechtl und Biborka Bartha. Die Konzeption, Redaktion und das Schreiben der Zusammenschau lag bei Gronegger, Cionca und Olărescu, unterstützt durch die Beratung zum TextBild-Konzept und Layout von Cristina Sabău und Alexandru Șchiopu. Sieben vergangene Jahre praxis- und gestaltungsorientierter Wochenworkshops zu dokumentieren, sind kein leichtes Unterfangen, zumal in unserer Arbeit nicht die Dokumentation im Vordergrund stand, sondern das Gelingen des Zusammenkommens und Tuns. So ist die Dichte der originalen Dokumente unterschiedlich und auch in verschiedenem Duktus erhalten. Wir versuchten, eine gewisse Vereinheitlichung zu erlangen, ohne aber alles in das Korsett eines allzu strengen Schemas zu zwingen.

Die bereits erwähnte Gradwanderung zwischen vorsichtig geordneter Fügung 18 | THINKING ABOUT RURAL AND LOCAL SPRIT

Alin Olărescu. Imaginile prezentate nu indică însă individual autorii.

Textele originale se bazează pe colaborarea dintre Marina Cionca, Alin Olărescu, Marius Marcu-Lapadat, Ioan Muscu, Christian Knechtl, Biborka Bartha. Concepția, redactarea și scrierea sinopsisului au fost susținute de către Gronegger, Cionca și Olărescu. Autorii conceptului grafic al relației text-imagine sunt Cristina Sabău și Alexandru Șchiopu.

Documentarea workshopurilor cu durata de câte o săptămână din ultimii șapte ani, orientate către proiectare și realizare practică nu este o misiune ușoară, mai ales că în munca noastră nu documentația a fost pusă în prim-plan ci reușita reunirii echipei și munca în comun. Astfel densitatea documentelor originale este diferită și a fost păstrată în stil diferit. Am încercat să obținem o anumită uniformizare, dar fără a schematiza lucrurile prea strict. Am considerat că intensitatea variabilă, deja menționată, a opțiunii armonioase fie către potrivirea precaută fie spre schimbările moderate dar dinamice pare a fi o bună abordare pentru a construi o imagine cuprinzătoare.

Cartea nu este trilingvă, însă trei sunt limbile care intervin în texte. Engleza este limba noastră comună, vorbită în timpul workshopurilor – este limba uzuală, de comunicare directă. Programele, prezentările și temele legate de activitățile in situ de bază au fost concepute în engleză de către profesori pentru studenți. Acolo unde utilizăm texte originale din materialele referitoare la workshopuri, acestea rămân în engleză (Overview, Idea & Spirit, Programme in Short, etc.). De asemenea, toate comentariile imaginilor au fost redactate în limba engleză.

Introducerea cărții, privirea de ansamblu asupra fiecărui an (cu excepția anului 2015) sunt redactate bilingv, în română și germană.

Noi credem că acest compromis, care se referă la puterile limitate, precizia de expresie în limba proprie și în minunata noastră engleză comună, este o șansă de a cuprinde o inteligibilitate de loc diminuată ci dimpotrivă, mărită. Între profesori și studenți în timpul „Singing Night” (Noaptea cântecelor) acestor trei limbi li s-a alăturat și limba maghiară –

und moderatem, aber lebendigem Wechsel schien uns als guter Ansatz, um ein möglichst weitfassendes Bild aus verschiedenen Richtungen zu erarbeiten.

Das Buch ist nicht dreisprachig, aber drei Sprachen kommen darin zum Einsatz: Englisch ist unsere gemeinsame, in den Workshops gesprochene Sprache – die Sprache des Zusammenkommens und direkten Austauschs. Die Programme „Einführungen“ und „Aufgabenstellungen“ werden für die Studierenden und Lehrenden als Grundlage unserer Arbeit vor Ort in Englisch verfasst. Wo wir originale Texte in Englisch aus den Workshops verwenden, belassen wir diese im authentischen Duktus („Overview, Idea & Spirit“, „Programme in Short“ etc.). Auch die Bildkommentare wurden alle in English verfasst. Die Einführung des Buchs und die jeweilige ausführliche Zusammenschau der Jahre sind zweisprachig verfasst – in Rumänisch und Deutsch (bis auf 2015 und 2017 – nur in englischer Sprache). Uns scheint dieser Kompromiss angesichts der begrenzten Kräfte, der Genauigkeit der jeweils eigenen Sprache und einer wunderbaren gemeinsamen englischen Sprache als gute Möglichkeit, mehr ein- als auszuschließen.

Zwischen Lehrenden und Studierenden und in der „Singing Night“ mischt sich zu diesen drei Sprachen oft Ungarisch – am schönsten in den Gesängen Bibis, die sie von ihrer Großmutter lernte (s. „Programme in Long 2014“).

VON ANFANG AN 2005 lernten sich Marina Cionca, Professorin für Design und Kulturgeschichte am Department of Wood Engineering der Universität Brașov, zu dieser Zeit dort Vizerektorin sowie Mitgründerin und bis heute Leiterin des jährlich stattfindenden Etnovemberfestivals, und Thomas Gronegger anlässlich einer Konferenz zum Thema Innenarchitektur in Sofia kennen, zu der beide von Regina Raycheva (Professorin für Innenarchitektur an der University of 19 | INTRODUCTION

exprimată în forma ei cea mai frumoasă în cântecele lui Bibi (Biborka Bartha), care le-a învățat de la bunica ei (vezi „Programme in Long” 2014).

DE LA ÎNCEPUTURI... În 2005 Marina Cionca, profesor de design de mobilier și istoria stilurilor la Facultatea de Ingineria Lemnului din Universitatea Transilvania, pe atunci prorector al universității, fondatoare și timp de 19 ani coordonatoare a festivalului anual Etnovember, ajuns acum la cea de-a XXI-a ediție, și Thomas Gronegger s-au cunoscut la o conferință pe teme de design de interior de la Universitatea din Sofia la care fuseseră invitați de către Regina Raycheva, profesor de design interior la University of Forestry. În anul 2006 a urmat invitația adresată de Marina Cionca lui Thomas Gronegger (profesor universitar docent la Departamentul de Arhitectură de Interior din New Design University, pe atunci decan al al Facultății de Design) de a vizita universitatea din Braşov. În cadrul festivalului Etnovember 2006 Thomas Gronegger a făcut o prezentare asupra filmului de analiză arhitecturală „Monument in Motion”, pe care l-a realizat împreună cu studenții săi Zucali, Hrasko, Walder, Kudlich.

Au urmat alte invitații la Brașov, prilejuite de solicitarea unor prelegeri destinate studenților de la programele de studii de licență și masterat, iar în anul 2007 Marina Cionca a fost invitată la Sankt Pölten pentru a prezenta la NDU o prelegere pe tema Ancient Roman Lifestyle, House and Furniture. În noiembrie 2010 a fost invitat la Brașov, împreună cu Thomas Gronegger și Christian Knechtl, care tocmai devenise coordonator al unui nou program de studii de masterat la New Design University. Au participat la festivalul Etnovember 2010, unde Gronegger a prezentat, în cadrul unei expoziții, seria de postere proprii intitulate „Arts & Crafts”, care reprezentau un nou model de program de studii de licență destinat artizanilor. Acesta fusese structurat împreună cu Josef Perger (și el artizan renumit, pe atunci profesor docent

Forestry, Sofia) eingeladen wurden. 2006 folgte von Marina Cionca eine Einladung nach Brașov an Thomas Gronegger (Univ.Doz. für „Bild- und Baukunst“ an der New Design University Sankt Pölten am Department für Innenarchitektur und zu dieser Zeit Dekan der Fakultät Gestaltung).

Im Rahmen des Ethnovemberfestivals konnte Gronegger einen Vortrag über seinen, in Entstehung befindlichen analytischen Architekturfilm Monument in Motion halten, den er gemeinsam mit vier Studierenden entwickelte (Zucali, Hrasko, Walder, Kudlich).

Es folgten weitere Einladungen nach Brașov, die immer mit Vorträgen für Studierende verbunden waren und 2007 konnte auch Marina Cionca nach Sankt Pölten kommen, um einen Vortrag über das römische Haus an der NDU zu halten. Im November 2010 kam Christian Knechtl, der gerade im September zum Studiengangsleiter des neuen MasterLehrgangs „Innenarchitektur“ an die New Design University berufen wurde, gemeinsam mit Gronegger nach Brașov, um am Ethnovemberfestival teilzunehmen.

Gronegger präsentierte dort im Rahmen der Ausstellung eine Posterserie mit dem Titel „Arts & Crafts“, die ein neues BachelorStudienmodell für Handwerkerinnen und Handwerker skizzierte, das er im Auftrag der Wirtschaftskammer Niederösterreich gemeinsam mit Josef Perger (Handwerker, Univ.-Doz., damals an der Universität Innsbruck, und heute Lehrgangsleiter des Studienganges „Konzeptuelle Denkmalpflege“ an der Donau-Universität Krems) für die New Design University entwickelte. Die Poster zeigten unter anderem Photodokumentationen und knapp formulierte Inhalte zu den erstmals als Pilotprojekte erprobten „Formenwerkstätten“, die der Curricularentwicklung als praktische Erfahrungsgrundlage dienten. Inhalte waren Themen wie: „Wand, Farbe, Ornament“; „Biegen und 20 | THINKING ABOUT RURAL AND LOCAL SPRIT

la Universitatea din Innsbruck, devenit între timp coordonatorul programului de studii „Restaurare conceptuală” la Danube University Krems) la solicitarea Camerei de Comerț a Austriei de Sud, pentru New Design University.

Posterele prezentau între altele documentații foto și structura pe scurt a ceea ce fusese inițial un proiect pilot, anume „Workshopuri pe teme de studiul formei”, care serveau dezvoltarea curriculară ca fundamente ale formării competențelor practice. Structura cuprindea teme de lucru precum „Pereți, culoare, ornament”, „Curbarea și răsucirea lemnului”, „Împletituri de suprafețe și de corpuri sferice”, „Structuri din lemn rotund pentru construcții”.

La Brașov posterele au stârnit un viu interes, astfel încât imediat a apărut ideea daca nu cumva aceste workshopuri pe teme de studiul formei nu s-ar putea realiza la Brașov printr-o cooperare internațională. Acesta a fost impulsul decisiv pentru a plănui primul nostru workshop comun. Planificarea și realizarea acestuia sunt prezentate în „PRIVIRE DE ANSAMBLU 2011 Window and Wall”. ȘAPTE ZILE În realitate, workshopurile anuale comune cu durata de o săptămână din România nu au fost doar o continuare a workshopurilor pe teme de studiul formei menționate mai sus ci au devenit un format original și independent, foarte complex, menținând aspectul morfologic artizanal, legat însă din ce în ce mai intens de percepția locurilor și de conținutul puternic psihologic și uman – așa cum se și poate vedea în cele șapte secțiuni ale cărții. Workshopurile cu durata de o săptămână din fiecare an au devenit teritorii experimentale importante pentru dezvoltarea didactică și de conținut pentru învățământul universitar. Tocmai faptul că lucram câte șapte zile în mediul local, unde locuirea, munca, pregătirea meselor, petrecerea timpului liber aveau loc sub același acoperiș, departe de universitățile noastre, a determinat, în deplin contrast cu vechiul format uniform uzual, configurarea unui spațiu de desfășurare și a unei libertăți neobișnuite care au influențat

Tordieren von Holz“; „Flechten von Flächen und sphärischen Körpern“; „Bauklotzstrukturen“. Die Poster stießen in Brașov auf reges und offenes Interesse und schnell stand die Idee im Raum, ob solche „Formenwerkstätten“ nicht auch als Kooperation in Brașov ausgerichtet werden könnten. Das war der Anstoß für die erste konkrete Planung eines gemeinsamen Workshops, der in der „ZUSAMMENSCHAU 2011 Window and Wall“ eingehender dargestellt wird.

SIEBEN TAGE In Wirklichkeit wurden dann die gemeinsamen Wochenworkshops in Rumänien nicht allein als Fortsetzung der oben genannten „Formenwerkstätten“ durchgeführt, sondern wurden sofort zu einem eigenständigen, sehr vielschichtigen Format entwickelt, das zwar den handwerklich-morphologischen Aspekt beibehält, diesen aber nach und nach mit der Wahrnehmung von Orten und starken psychologischen oder menschlich relevanten Inhalten verknüpfte – wie in den „sieben Abschnitten” nachzuvollziehen.

Die Wochenworkshops haben sich auch als wichtiges Erprobungsfeld für die Entwicklung didaktischer und inhaltlicher Formate der universitären Lehre bewährt.

Gerade die Tatsache, dass wir jeweils sieben Tage vorwiegend an ländlichen Orten und fernab von unseren Universitäten zusammenarbeiten, wo Unterkunft, Arbeiten, Kochen, Essen und „Zeitvertreib“ gemeinsam unter einem Dach stattfinden, gibt zu den, im Vergleich engen Uniformaten einen ungewöhnlichen Spielraum und Freiheit für gemeinsames Tun und Nachdenken.

Sieben Tage sind ausreichend lang für einen großen didaktischen und inhaltlichen Bogen. So ist es ab 2013 zunehmend gelungen, das Erleben, Analysieren und Verinnerlichen des Ortes, an dem wir arbeiten (über Schrittmessung, Zeichnen und Modellbau), das Einführen in eine 21 | INTRODUCTION

modul nostru de gândire și activitățile specifice. Șapte zile sunt suficient de lungi pentru un mare periplu didactic și de conținut. Prin urmare începând cu anul 2013 am reușit ca lucrurile trăite, analizate și asimilate specifice locului unde lucram (prin măsurători realizate cu pasul, schițe, desene și construirea de machete), introducerea in tematica de lucru (prin prelegeri, discuții, reflecții în comun), precum și desfășurarea activităților de concepție și design (prin exerciții analitice de proiectare și varii încercări), să închege o temă unitară foarte complexă. Șapte zile ajung la fix pentru a se realiza acest lucru și sunt utilizate cu adevărat intensiv pentru a se reuși densitatea prefigurată a rezultatelor (se poate vedea aceasta la secțiunile cu programele și ritmarea workshopurilor). În pofida activităților intense a rămas întotdeauna destul loc pentru lucrurile informale, amuzante, improvizate și pur și simplu necesare (plimbări, divertismente de seară, mici bârfe ocazionale, discuții animate în timpul pregătirii meselor și al spălării vaselor). Aceste răgazuri cotidiene au generat în mod repetat o atmosferă magică și momente speciale, care au stabilizat experiențele adânc în memorie și au permanentizat prietenii care s-au prelungit mult în afara cadrului „instituțional”.

Universitatea de Arhitectură și Urbanism Ion Mincu aduce odată cu Mihaela Șchiopu și Ionel Iștoc experiența didactică a învățământului de artă și arhitectură, care și-a pus amprenta vizibilă pe procesele de lucru și întâmplările din timpul săptămânilor de workshop. New Design University aduce experiența lucrului în direct cu formele, a desenului analitic, a arhitecturii de interior și a discuțiilor despre importanța specificului locurilor (Thomas Gronegger, Christian Knechtl, Benedikt Dekan). Iar Universitatea Transilvania aduce experiența proprie din zona concepției și abordării constructive a lemnului apropiind-o de arhitectura vernaculară (Alin Olărescu și Biborka Bartha), a practicii bazelor designului și a concepției

Thematik inhaltlicher Natur (über Vorlesungen, Gespräche, gemeinsames Nachdenken) sowie handwerklichgestalterische Themen (durch gestalterischanalytische Übungen und Versuche) zu einem zusammenhängenden, sehr komplexen Thema zu verknüpfen. Sieben Tage reichen gerade aus, um das zu schaffen, und sind knapp genug bemessen, um eine besondere Dichte abzuverlangen (vgl. Programme und Taktung der Workshops).

Trotz aller Dichte blieb immer genügend Raum für Informelles, Lustiges, Improvisiertes und schlichtweg Notwendiges (Spaziergänge, Abendgestaltung, Schwatz zwischen Tür und Angel, Gespräche beim Vorbereiten des Essens und beim Abwasch). Diese zugleich aus dem Alltag enthobene Zeit brachte wiederholt magische Atmosphären und ganz besondere Momente hervor, die Erlebtes tief verankert und Freundschaften schafft, die sich auch unabhängig von Institutionen entwickeln und bestehen.

Die Ion Mincu University Bucharest bringt mit Mihaela Șchiopu und lonel Iștoc eine starke künstlerische Lehrerfahrung ein, die die Arbeitsprozesse und Ergebnisse der Wochenworkshops spürbar prägt. Die New Design University steuert Erfahrungen der Formenwerkstatt, des analytischen Zeichnens, der Innenarchitektur und der Auseinandersetzung mit Orten bei (Thomas Gronegger, Christian Knechtl, Benedikt Dekan). Und die Transilvania University of Brașov trägt ihre Erfahrungen aus dem gestalterischen und konstruktiven Umgang mit Holz und ihrer Nähe zur vernakularen Architektur (Alin Olărescu und Biborka Bartha), aus theoretischer und gestalterischer Erfahrung zum Möbeldesign und zu Grundlagen der Gestaltung (Marina Cionca und Ioan Muscu) und ihrem Wissen zur Holzrestaurierung bei (Cristina Timar).

ABENDE – HIER UND JETZT Die angesprochenen Abendgestaltungen, 22 | THINKING ABOUT RURAL AND LOCAL SPRIT

mobilierului (Ioan Muscu și Marina Cionca), precum și a artei și științei restaurării lemnului (Maria-Cristina Timar).

SERILE – AICI ȘI ACUM Structurarea mai degrabă spontană a serilor, de multe ori cu instrumente muzicale și cântece, a evoluat ca un amestec original de arhaic și modern. Alin Olărescu a adus cântecele tradiționale (cu rime improvizate) din satul lui, cu sunete și cuvinte dintr-o lume trecută și totuși încă vie, în prezentul bucătăriei înghesuite, parțial improvizată și caldă încă după masa de seară. Biborka Bartha a adus la un nivel de expresie unic cântecele maghiare vechi învățate de la bunica ei, de o profunzime de sentiment răscolitoare, greu de exprimat în cuvinte. Apoi urmau iar cântece populare românești știute de studenți – citeau parțial textul de pe smartphone – care cântau cu glas puternic și cu mare poftă. Studenții din Austria, precum Georg Pop, Leonie Kohut și Patrik Pranzel, cu talent uimitor, au putut cu Austropop și cu Falco să le țină piept cu o voce liniștitor de aspră care se afunda în adâncurile dialectului (vezi PROGRAMME IN LONG 2014 – Monday). Dintr-un schimb acerb de replici în răspăr aruncate peste masă, între Alin Olărescu și Roxana Cîciu, aceasta a preluat ștafeta continuând cu un monolog improvizat de tip „One-Woman Cabaret Night”, în timpul căruia și cei care habar n-aveau de limba română nu s-au mai oprit din râs vreo două ore (vezi PROGRAMME IN LONG 2014 – Thursday). Într-o dimineață când se făcea ordine în bucătărie și se pregătea micul dejun a fost gasit un șervețel mototolit pe care era desenat un joc de moară, împreună cu bucăți de zahăr cubic care fuseseră scurt imersate în cafea neagră – inventivi sunt aceia care nu au totul la îndemână! Toate aceste întâmplări se pot, desigur, lista ca divertismente de seară, fapt este însă că a trăi astfel de seri voioase și pline de spirit este ceva rar și depinde de farmecul simplității și al austerității din locurile unde nu sunt variante din care să alegi ci pur și simplu te integrezi pe loc aici și acum în momentele care îți sunt date.

oft mit Musikinstrumenten und Gesang, haben sich teils als eigenartige archaischmoderne Vermischungen entwickelt. Alin Olărescu, der traditionelle Lieder (mit Reimen aus dem Stegreif) aus seinem Dorf anstimmte, hat Klänge und Texte aus vergangener und teils noch andauernder Welt herausgeschöpft und authentisch in die Gegenwart der engen, improvisierten, noch warmen Essküche gebracht. Biborka Bartha hat mit ihren ungarischen Liedern, die ihr die Großmutter beigebracht hat, einen melodischen Gesang von eindringlicher Gefühlstiefe zum Ausdruck gebracht, der sich kaum in Worte fassen lässt. Dann wieder populäre rumänische Volkslieder, in die Studierende einstimmten – teils den Text vom Smartphone ablesend, kräftig und mit wahrer Lust mitsingend. Studierende aus Österreich, teils überraschende Talente wie Georg Pop, Leonie Kohut und Patrik Pranzel, konnten mit Austropop-Liedern und Falco dagegenhalten und kratzten mit wohlig rauer Stimme der Untiefen des Dialekts entlang (vgl. „PROGRAMME IN LONG 2014 – Monday“). Aus einem „Überdie-Tische-Hinwegspotten“ und „schlagfertigen Zurückgeben“ zwischen Alin Olărescu und Roxana Cîciu übernahm – zunächst noch abwechselnd, dann zunehmend im Monolog – Roxana mit einer Stegreif-„One Woman Cabaret Night”, bei der auch diejenigen, die die Sprache nicht verstanden, über zwei Stunden nicht mehr aus dem Lachen herauskamen (vgl. „PROGRAMME IN LONG 2014 – Thursday“). Einmal fanden sich beim Aufräumen und Vorbereiten des Frühstücks am Morgen Reste eines „Mühle-Spiels” – eine verknitterte Serviette mit aufgezeichneten konzentrischen Gevierten und Stücken von Würfelzucker, die teils kurz in den schwarzen Kaffee eingetaucht waren – findig sind die, die nicht alles fertig zur Hand haben! Das mag man nun alles als Abendvergnügen werten, das Erleben so lustiger und geistvoller Abende wird jedoch rar und hängt mit dem Zauber der Einfachheit und Eingeschränktheit zusammen, die nicht aus Optionen wählen kann, 23 | INTRODUCTION

INVENTIVI SUNT ACEIA CARE NU AU TOTUL LA ÎNDEMÂNĂ… …aceste cuvinte au devenit gândul director la introducerea și prezentarea temelor de concepție și de realizare practică (și în general pentru săptămânile noastre în România).

De exemplu întrebarea cum se configurează spațiul, întâi numai cu câțiva mici omuleți confecționați ad-hoc de fiecare participant, și așezând două-trei bucăți de carton - din aceste căutări și încercări mărunte s-a deschis o lume întreagă de percepții precis diferențiate. Acesta este designul experimental, care se bazează pe comparația dintre simplu și complex și cere o reacție precisă în dialog (din carton, folie de aluminiu, ace cu gămălie și ceară, vezi PROGRAMME IN SHORT 2013 – Monday/Tuesday). De cele mai multe ori e vorba despre carton, șipci din lemn, nuiele pentru împletituri, multe fiind materiale avute dinainte, cărora li se adaugă ceva culori, care ajung pentru a duce la bun sfârșit modelele, desenele și planurile fiecăruia. Apogeul de până acum în utilizarea materialelor foarte simple a fost înregistrat în 2016, când cu cei 200 de metri pătrați de carton ondulat obținuți prin sponsorizarea firmei DUNAPAK s-au putut realiza prototipuri de mobilier și componente de arhitectură (pereți și stâlpi) în mărime naturală, cu care au fost testate compoziții spațiale pe o estradă de dans improvizată din suporți și scânduri (vezi Documentația foto 2016).

GOSPODĂRIREA Cumpărăturile, pregătirea mesei, gătitul mâncării zilnic pentru circa treizeci de persoane timp de o săptămână (în Dealu Frumos) nu este ceva care să se poată rezolva în trecere sau cu ușurință. Nici bugetul strâmt (și am încercat să menținem costurile pentru studenți cât de scăzute posibil) nu ne lăsa prea multă libertate de alegere. Alin Olărescu a preluat această misiune (pe lângă cea de predare) împreună cu o echipă-nucleu căreia i se alăturau ajutoare care se schimbau zilnic, și astfel în fiecare după-amiază și seară a reușit să

sondern die eine vorhandene Situation im Hier und Jetzt voll wahrnimmt.

FINDIG SIND DIE, DIE NICHT ALLES FERTIG ZUR HAND HABE Dieser Satz wurde zunehmend zum Leitgedanken bei den Einführungen in gestalterisch-handwerkliche Themen (und generell für unsere Wochen in Rumänien). Der Frage etwa, wie sich Raum bildet, zunächst nur mit kleinen selbstgebastelten Figuren und zwei, drei Kartonstücken nachzugehen – aus diesem kargen Suchen und Versuchen hat sich nach und nach eine ganze Welt genau differenzierender Wahrnehmung eröffnet.

Das ist experimentelles Design, das auf ein einfaches oder sperriges Gegenüber setzt und ein genaues Reagieren im Dialog verlangt (aus Karton, Küchenalu, Stecknadeln und Wachs; vgl. „SHORT PROGRAMME 2013 – Monday/Tuesday“).

Meist sind es Karton, Holzstäbe, Flechtzeug und einfachste, teils vorgefundene Materialien, sowie verschiedenste Malutensilien, die zum Anfertigen der Modelle, Zeichnungen und Pläne ausreichen. Einen vorläufigen Höhepunkt erreichte die Verwendung einfacher Materialien 2016, als wir mit von DUNAPACK gesponserten 200 Quadratmetern Wellpappe Möbelprototypen und Architekturelemente (Wände und Pfeiler) in realer Größe anfertigen konnten und damit Raumkompositionen auf einem aus losen Balken und Brettern gefügten „Tanzboden“ erprobten (vgl. „Fotodokumentation 2016“).

HAUSHALT Das Einkaufen, Vorbereiten, Kochen und Abwaschen jeweils über sieben Tage für etwa dreißig Personen (in Dealu Frumos) ist nicht etwas, das mit Leichtigkeit nebenher erledigt werden kann. Auch das enge Budget (wir versuchen, die Kosten für die Studierenden immer so niedrig wie möglich zu halten) ließ keinen großen Spielraum zu.

Alin Olărescu hat (neben dem Unterrichten) 24 | THINKING ABOUT RURAL AND LOCAL SPRIT

realizeze cu succes adevărate minunății culinare. Arta sa de a face cumpărături la piața din Agnita i-a umplut de mirare pe cei care-l însoțeau, ca și lejeritatea cu care era capabil să estimeze cu precizie cantitățile și greutatea celor necesare pentru a pregăti mâncarea pe mai multe zile pentru 30 de persoane. Cu doar un aragaz, câteva castroane de plastic și oale supradimensionate și un lighean, aceasta era arta supremă. Astfel în fiecarea seară se înghesuiau la coadă la oalele uriașe studenții, fiecare cu farfuria pe care și-o adusese de acasă, din care își luau porția cu polonicele. În PROGRAMME IN LONG 2014 se povestește despre acestea și a fost făcută o serie de fotografii în bucătărie și la masă.

DIRECȚII DE CERCETARE, PERSOANE ȘI INSTITUȚII Din colaborarea dintre Universitatea Transilvania, New Design University și Universitatea de Arhitectură și Urbanism Ion Mincu au rezultat numeroase impulsuri pentru dezvoltarea cercetării și a învățământului în domeniul designului. Tema numită „Rural și țărănesc”, devenită între timp direcție principală de cercetare la NDU își are originea și impulsul în mare măsură în discuțiile din Dealu Frumos (între timp s-au adunat și contribuții la publicațiile noastre și la altele, iar la NDU s-au realizat și șase lucrări de licență generate de satul Dealu Frumos – vezi PUBLICAȚII). Aici se leagă și experiențele și stimulentele schimburilor cu catedra Caminada, de la ETH Zürich prvitoare la proiectul de cercetare intitulat „Crearea de locuri”, care și-au găsit loc și în publicațiile noastre (vezi cartea Inside, Outside, In-Between I/II – „Beyond Modernisms”).

Puncte de referință interioare puternice asupra proiectelor arhitecților Șeban Sturdza și Alexandra Mihailciuc din București care sunt documentate în cartea Inside, Outside, InBetween I/II și au fost prezentate și în cadrul festivalului Etnovember sunt încă în căutarea unor căi comune de aprofundare practică.

De asemenea există o legătură puternică cu programul de studii „Concepte de restaura-

diese Aufgabe übernommen und mit einem Kernteam und täglich wechselnden Helfergruppen jeden Nachmittag und Abend seine kulinarischen Wunder vollbracht. Alin Olărescus beiläufige Art des Einkaufens am Markt von Agnita hat die Begleitenden in Erstaunen versetzt: Mit welcher Leichtigkeit er Mengen und Gewicht einschätzte, um 30 Personen für mehrere Tage aufzukochen.

Mit nur einem Gasherd, wenigen großen Plastikschüsseln und Töpfen in Übergröße sowie dem einfachen Handwaschbecken war dies seine Kunst. In einer Schlange drängelten sich dann allabendlich die Studierenden mit den mitgebrachten Tellern an die großen Töpfe mit den Schöpflöffeln heran. Im „PROGRAMME IN LONG 2014“ wird davon berichtet und eine Fotostrecke allein der Küche und dem Essen gewidmet.

FORSCHUNGSSTRÄNGE, PERSONEN UND INSTITUTIONEN Aus der Kooperation der Transilvania University of Brașov UTBV, der New Design University Sankt Pölten NDU und der Ion Mincu University Bucharest UAUIM entstanden viele Impulse für die Entwicklung von gestalterischer Lehre und Forschung. Das Thema „Dörfliches und Ländliches“, inzwischen fester Forschungsstrang der New Design University, findet seinen Ursprung und Anregungen zu einem guten Teil in der Auseinandersetzung mit dem Dorf Dealu Frumos (inzwischen sind dazu Beiträge in unsere und weitere Publikationen eingeflossen und an der NDU entstanden sechs Bachelor-Arbeiten zum Dorf Dealu Frumos – vgl. Publikationen). Hier verbinden sich auch Erfahrungen und Anregungen aus dem Austausch mit dem Lehrstuhl Caminada, ETH Zürich über das Forschungsprojekt „Orte schaffen“, die ebenso in unseren Publikationen Niederschlag fanden (vgl. „Inside, Outside, In-Between I/II“ – „Beyond Modernisms”).

Starke innere Bezugspunkte zu Projekten von Serban Sturdza und Alexandra 25 | INTRODUCTION

re a monumentelor” ale compagnonilor de la Bauhütte Müstair și Comunității Schlanders în colaborare cu Danube University Krems, care este coordonat de către Josef Perger și a fost dezvoltat sub conducerea decanului Christian Hanus.

COLABORĂRI LA FESTIVALUL ETNOVEMBER ȘI ALTELE Festivalul anual Etnovember al Universității Transilvania, până de curând coordonat de Marina Cionca împreună cu Alin Olărescu și Antónia Czika, acum aflat sub coordonarea lui Alin Olărescu, este structurat pe trei zile în fiecare al treilea week-end din luna noiembrie, iar expozițiile care se deschid în prima zi de festival, la Aula Universității au simezele concepute de către Ioan Muscu. Festivalul este un magnet pentru o seamă de întâlniri informale în timpul cărora cei interesați își pun întrebări asupra culturii regionale, asupra dezvoltării și întăririi identităților locale, a moștenirilor culturale, meșteșugurilor și creației de artă și design. Astfel cercul celor trei universități partenere se lărgește în mod semnificativ. Expozițiile de la Aulă au în acest context un rol deosebit. Ele iradiază un spirit cultural extraordinar de deschis, mixează tematici fără a se sinchisi de snobisme și granițe elitare între arte și feluritele lor forme de manifestare. Sunt acolo prezentate și expuse lucruri create de copii, de designeri entuziaști, de studenți, de artiști de mare prestigiu și de profesori, într-un mod plăcut și fără ifose. Expozițiile din acel spațiu atrag un public foarte eterogen din Brașov, București și alte părți ale țării precum și din afara ei, de unde vin prieteni, artiști, muzicieni, amatori de artă. În această atmosferă de sărbătoare care se completează în a doua zi de festival cu un veritabil târg multicultural (un mix de evenimente dinamice), oamenii se adună, vorbesc, schimbă idei, nu izolându-se în cercul cunoscuților ci lărgindu-l. Aici au avut loc primele contacte pentru workshopuri, aici este incubatorul de idei pentru noile workshopuri și aici au avut și au loc întâlniri pentru discuțiile asupra publicațiilor prezente

Mihailciuc, Bukarest, die in „Inside, Outside, In-between I/II“ dokumentiert sind und in Ausstellungen des Etnovemberfestivals gezeigt wurden, suchen noch nach Wegen gemeinsamer praktischer Vertiefung.

Ebenso besteht ein enger Bezug zu dem Lehrgang „Konzeptionelle Denkmalpflege“ der Bauhütte Müstair und der Gemeinde Schlanders in Kooperation mit der DonauUniversität Krems, der von Josef Perger geleitet wird und unter dem Dekanat von Christian Hanus entwickelt wurde.

ETNOVEMBERFESTIVAL UND ERWEITERTER KREIS Das unter Leitung von Marina Cionca jährlich stattfindende Etnovemberfestival an der Transylvania University of Brașov, das gemeinsam von Alin Olărescu und Antonia Czika koordiniert wird und dessen Ausstellung in der Aula der Zentralbibliothek der Universität Brașov von Ioan Muscu gestalterisch geleitet wird, ist ein Magnet für ein informelles Zusammentreffen Interessierter, die sich Fragen regionaler Kultur, der Entwicklung und Stärkung von Identitäten, des Kulturerbes, des Handwerks und der Gestaltung widmen.

Damit erweitert sich der Kreis über die drei Partneruniversitäten hinaus.

Die Ausstellungen in der Aula der Transilvania Universität Brașov spielen dabei eine ganz besondere Rolle. Sie strahlen einen kulturell wunderbar offenen Geist aus, mischen – frei von Allüren und elitärer Abgrenzung – gestalterische Beiträge von Kindern, passionierten GestalterInnen, Studierenden, namhaften KünstlerInnen und ProfessorInnen auf angenehme Weise. Die Ausstellung schafft es regelmäßig, ein breit gemischtes Publikum aus Brașov, Bukarest und anderen Teilen des Landes sowie internationale Freunde, KünstlerInnen und MusikerInnen anzuziehen. In dieser Atmosphäre, die auch etwas von einem Fest und Jahrmarkt hat, kommen Leute zusammen, tauschen sich aus, ohne unzugängliche Zirkel zu 26 | THINKING ABOUT RURAL AND LOCAL SPRIT

și viitoare, aici poți cunoaște oameni de cultură pasionați având multe idei și opinii în comun.

bilden. Hier sind die ersten Kontakte f체r die Workshops entstanden, hier wurden und werden Ideen f체r neue Workshops ausgebr체tet und vorbesprochen, hier fanden und finden Treffen zur Besprechung der Publikationen statt, hier lernt man Menschen mit Passion und 채hnlichen Ideen kennen.

27 | INTRODUCTION

03

SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE Univ.-Doz. Dr. Mag. Art. Thomas Gronegger (NDU), prof.dr. Marina Cionca (UTBv), assist.prof.dr. Alin M. Olărescu (UTBv) assist.prof.dr. Ioan Muscu (UTBv), prof. (NDU) Christian Knechtl, dr.arch. Biborka Bartha (UTBv), assist.prof.dr. Mihaela Șchiopu (UAUIM), lecturer dr. Ionel Iștoc (UAUIM)

2011 BRAȘOV/KRONSTADT 7th–14th May

WINDOW AND WALL

■ 23 Students: Andrea Deák UTBv, Theresa Geyer NDU, Bernadette Hönickl NDU, Kinga Csaki UTBv, Johanna Ruthner NDU, Iulia Leancu UTBv, Doris Zichtl NDU, Petre Şerban UTBv, Anca Duţă UTBv, Elisabeth Watzek NDU, Kristina Bigler NDU, Martin Ritt NDU, Noémi Marton UTBv, Bianca Schönbichler NDU ■ Restoration: Celia Chiru UTBv, Ana Maria Groza UTBv, Andreea Miruna Petre UTBv, Bianca Prisăcariu UTBv, Emil Roată UTBv, Natalia Talmazan UTBv, Andreea Popa UTBv, Simion Axinte UTBv, Adriana Tuduce UTBv ■ Teachers: Univ.-Doz. Dr. Thomas Gronegger NDU, prof. dr. Marina Cionca UTBv, prof. dr. arh. Marius Marcu-Lapadat UAUIM, prof.

Christian Knechtl NDU, prof.dr. Maria Cristina Timar UTBv, prof.dr.

Lidia Gurău UTBv, assist.prof.dr. Alin Olărescu UTBv. ■ Guests: Valeriu Ion Olaru, Antónia Czika

IDEA & SPIRIT 2011

What is a window? What could it be? Window, as seen from a practical-technological point of view, will be dealt within terms of heat transfer coefficients, noise protection and ease of maintenance.

Current high-tech windows also form the façade and glass “shell”.

Colour and mirror technologies produce an amazing aesthetic game.

But what scope remains however on a smaller scale with the simple relationship between window and building? The question to ask, more fundamentally, is whether the plastic interaction of building, opening and the window frame can, in addition to the well-trodden paths of technological and practical solutions or high-tech design, contribute to new “food for thought”.

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DE RO ZUSAMMENSCHAU 2011

PRIVIRE DE ANSAMBLU 2011

DER ERSTE WOCHENWORKSHOP „Window & Wall“ war der Titel des ersten gemeinsamen Workshops der drei Universitäten NDU St. Pölten, UTBV Brașov und UAUIM Bucharest. In einem Vorbereitungstreffen am Uni-Campus „University Hill“ in Brașov im Fruhjahr 2011 überlegten wir (Marina Cionca, Christina Timar (UTBV), Marius Marcu-Lapadat (UAUIM), Christian Knechtl, Thomas Gronegger (NDU) mögliche Inhalte und eine didaktische Struktur zu diesem Thema, die für die verschiedenen Studienrichtungen (Möbeldesign, Holzrestaurierung und Innenarchitektur) von gemeinsamem, überlappendem und ergänzendem Interesse sein könnte.

Marina Cionca lud uns zu diesem Gespräch in ihren Institutsraum „Eco Design“ ein, der aus einer kleinen, feinen Werkstatt und einer darüber befindlichen Besprechungs- und Bibliotheksgalerie bestand. Alin Olărescu war bereits bei diesem ersten Treffen dabei - damals ein PhD Absolvent, der in ein umfangreiches „ Postdoctoral Research Project Regarding Eco-Design” eingebunden war. Heute ist er Dozent und tragender Pfeiler der Lehre und Organisation der aktuellen Workshops. Marius Marcu-Lapadat war neu gewählter Dekan des Departments für Innenarchitektur an der UAUIM in Bukarest und bei Marina Cionca regelmäßig eingeladener Gastvortragender zum Thema Design. Christina Timar leitete das Department für Holzrestaurierung an der UTBV. Ihr unterstand der große und helle Werkstattraum, in dem der Workshop „Window & Wall“ parallel zu Restaurierungsprojekten an historischen Fenstern abgehalten werden sollte.

PRIMA SĂPTĂMÂNĂ DE WORKSHOP Window & Wall a fost denumirea primului workshop comun al celor trei universități: NDU St. Pölten, UTBv Brașov, UAUIM București. La o întâlnire pregătitoare din campusul Colină al UTBv, în primăvara anului 2011, noi (Marina Cionca, Maria Cristina Timar UTBv, Marius Marcu-Lapadat UAUIM, Christian Knechtl, Thomas Gronegger NDU) am cugetat despre posibilele conținuturi și despre structura didactică a acestei teme, care puteau oferi o țintă celor trei orientări diferite ale studiilor, respectiv design de mobilier, restaurarea lemnului și arhitectura de interior, unificând și completând astfel un interes comun tuturor.

Marina Cionca ne-a invitat la această discuție în spațiul laboratorului de Ecodesign, care consta dintr-un atelier mic dar bine echipat și, situată deasupra acestuia, o galerie supraetajată cu mese de lucru grupate și o bibliotecă. Alin Olărescu, proaspăt doctor, era pe atunci implicat într-un mare proiect de cercetare postodoctorală, lucrând la o temă legată de eco-design. Acum a devenit conferențiar universitar și în același timp pilonul principal al cercetărilor și organizării workshopurilor noastre din ultimii șase ani.

Marius Marcu-Lapadat tocmai fusese ales decan al Facultății de Arhitectură de Interior a UAUIM București, având de asemenea ore la masteratul de Eco-design de Mobilier și Restaurare de la Facultatea de Ingineria Lemnului din UTBv. Maria Cristina Timar coordonează disciplinele de restaurare și ea a pus la dispoziție spațiul generos și luminos al laboratorului său pentru lucrul în comun la workshopul Window &Wall, care s-a desfășurat acolo, în paralel cu unele proiecte și lucrări legate de restaurarea ferestrelor cu valoare istorică.

Window and Wall

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Window and Wall

KONZEPTUELLE VORBEREITUNG Von Beginn an stand die Idee im Raum, dass der Workshop aus dem handwerklichgestalterischen Tun heraus das Thema des plastischen Wandkörpers und seiner Öffnung durch Fenster erkunden sollte.

Das Fenster diente als gemeinsame Schnittmenge der universitären Erfahrungshintergründe – der Holzkonstruktion, der Holzrestaurierung und des Interiordesigns. Es ging um die Wahrnehmung des Innenraumes und des Lichts, des Materials, der Konstruktion und von historischen Besonderheiten, des Innen-/Aussenbezuges durch das Fenster, die plastische und tektonische Gliederung der Fassade, die auf die Öffnung reagiert, etc. Als Material für die Arbeitsmodelle wurden Wellpappe, Karton und Gips vorgeschlagen. Der Maßstab der räumlichen Erkundung sollte 1:10 sein, um Raumwirkungen und Phänomene des Lichts, der Plastik und des Raumes deutlich wahrnehmen und experimentellhandwerklich erproben zu können. Eine Art „Puppenhausgröße“ sollte es werden, was den spielerisch sukzessiv entwerfenden, bastelnden und erprobenden Prozess ermuntert und der Wahrnehmung von Zufällen Raum gibt.

Vorlesungen zu Typologie und Ausdruck von Phänomenen im Zusammenhang mit Fenster und Wand wurden inhaltlich überlegt und zugeteilt („Klassische Formmerkmale des Fensters in Antike und Renaissance“, Gronegger; „Das Fenster als Raum“, Knechtl; „Das Fenster in der Malerei“, Lapadat). Christina Timar wurde gebeten, eine Vorlesung zu gestalterischen Qualitäten, Restaurierung und Konservierung historischer Fenster vorzubereiten. Ebenso überlegten wir, thematische Sammlungen von Lichtbildern zusammenzustellen, die sich im weitesten Sinne mit den Phänomenen des Fensters beschäftigen (Fenster als Gesicht des Hauses, Laibungsform des Fensters, durchbrochene Textur, Lichtkanal,

PREGĂTIREA CONCEPTUALĂ De la început a existat ideea ca workshopul să exploreze tema peretelui ca element plastic și a deschiderii sale prin fereastră pornind de la creație și construcție artizanală. Fereastra servea ca bună intersecție comună pentru experiența cunoașterii de nivel universitar a construcțiilor din lemn, a restaurării lemnului și a designului de interior. Era vorba despre perceperea spațiului interior și a luminii, materialului, construcției, precum și despre specificitățile istorice, despre relația dintre interior și exterior prin fereastră, articularea plastică și tectonică a fațadei care reacționează la deschidere, etc. Ca material pentru machetele de lucru s-au propus cartonul ondulat, cartonul simplu și gipsul.

Scara de lucru propusă a fost 1:10, pentru ca efectele spațiale și fenomenele luminii, ale plasticii și ale spațiului să poată fi observate și experimentate. Machetele, lucrate la scara unor „case de păpuși“ înviorează procesul jucăuș de creație, bricolaj și încercări succesive și de asemenea face loc perceperii cu caracter spontan.

Au fost gândite și distribuite conținutul și structura prelegerilor pe tema tipologiei și expresiei fenomenelor în relație cu fereastra și peretele (trăsături caracteristice legate de fereastră și perete în antichitate și în Renaștere/Gronegger, Fereastra ca spațiu/ Knechtl, Fereastra în pictură/Lapadat).

Maria Cristina Timar a fost rugată să facă o prezentare despre caracteristicile de formă, de restaurare și conservare a ferestrelor istorice. De asemenea ne-am gândit și la identificarea și gruparea unor imagini care să aibă ca scop expresia în sensul cel mai larg a fenomenologiei ferestrei (ferestrele ca “față” a casei, perceperea din interior a ferestrei, textura perforată, canalul de lumină, sticla colorată, etc.), pentru a le servi studenților ca sursă de inspirație.

GRUPURILE DE LUCRU Studenții de la masteratul de Eco-design din UTBv și cei de la masteratul de Arhitectură de Interior de la NDU au lucrat împreună la

33 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2011

farbiges Glas etc.) und den Studierenden Inspirationsquelle sein sollten.

DIE GRUPPEN Die Studierenden der UTBV –„Studienzweig Eco Design“ und die Studierenden der NDU im Master-Lehrgang „Innenarchitektur“ arbeiteten gemeinsam an den Aufgabenstellungen. Die Studierenden der Holzrestaurierung hingegen arbeiteten im gleichen Raum an der Restaurierung von drei verschiedenen Holzfenstern und bezogen uns immer wieder berichtend und demonstrierend in die verschiedenden Phasen ein. Das handwerkliche Tun am realen Objekt (und dessen sichtbare und berührbare Qualitäten) war also immer präsent. Auch wenn sich nicht alle Studierenden dieser sensiblen Tätigkeit widmen konnten, ging davon ein enormer atmosphärischer und inspirativer Einfluss aus. Trotz der relativ kleinen Gesamtgruppe ging die Durchmischung zunächst zögerlich voran. Zu leicht fiel man in die gewohnten Muster und Gruppen zurück und erst der unterwegs gefasste Beschluss, durchmischte Gruppen zu bilden, lockerte den Austausch und förderte die Zusammenarbeit. Rasch löste sich der Knoten und durch das gemeinsame Abendprogramm und die Exkursionen zu Fuß in die wunderbare historische Altstadt von Brașov kamen die Studierenden dann rascher zusammen.

OUTCOME Das Ergebnis des Workshops bestand aus aneinandergereihten, auf den ersten Blick unscheinbaren Kartonschachteln, die erst bei genauerem Blick ins Innere ihr Wesen als experimentelle Probemodellräume für Licht- und Rauminszenierungen preisgaben.

Begleitet wurden diese Arbeitsmodelle von Schautafeln mit Zeichnungen, Plänen und Modellfotografien, die versuchten, den Ausdruck der Räume bei verschiedenen Lichtstimmungen festzuhalten.

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stabilirea temelor. Studenții de la Restaurarea Lemnului au lucrat în aceeași încăpere la restaurarea a trei ferestre diferite și ne-au atras în munca lor, explicând și demonstrând fiecare fază a procesului. Intervenția efectivă asupra unui obiect real (și asupra calităților vizibile și tangibile) a rămas astfel tot timpul prezentă. Chiar dacă nu toți studenții s-au putut dedica acestei activități sensibile, ea a emanat o influență enormă asupra atmosferei de lucru și inspirației noastre. Cu toate că dimensiunea grupurilor de lucru era relativ mică, realizarea mixării veritabile a avansat cam ezitant. Prea ușor se aluneca în modelul de gruparea uzual și numai decizia luată pe parcurs de a face grupuri de lucru cu adevărat mixte a relaxat comunicarea și a stimulat adevărata muncă în comun. Așa s-a produs destinderea, iar cu ajutorul programelor din fiecare seară și al excursiilor realizate pe jos în minunatul centru vechi al Brașovului studenții s-au împrietenit cu adevărat.

OUTCOME Workshopul a avut ca rezultat un șir de cutii de carton, la prima vedere nesemnificative. Deabia când le priveai mai atent își mărturiseau substanța de modele experimentale pentru câte o scenografie spațială și luminoasă.

Acestea au fost însoțite de panouri cu schițe, desene, planuri și fotografii ale machetelor, care încercau să fixeze expresiile specifice fiecărui spațiu creat în situația varierii luminii, care genera senzații diferite.

EXCURSII Aici trebuie menționată excursia la Muzeul Culturii și Civilizației Populare ASTRA din Sibiu, care a mai fost vizitat și în următorii doi ani, după cum este menționat în PRIVIRILE DE ANSAMBLU respective. Observațiile de la Muzeul ASTRA au fost analizate în profunzime în cartea „Window & Wall“ 2012, în contribuția intitulată „Morphological Observations“.

Ceva cu totul deosebit a fost vizita la biserica fortificată din Prejmer. Fortificațiile de acolo au numeroase deschideri care sunt diferit ordonate și modelate. “Multe dintre aceste

EXKURSIONEN Als Exkursionen sind der Besuch im Astra Freilichtmuseum der bäuerlichen Kultur in Sibiu zu erwähnen, das in den folgenden zwei Jahren wieder besucht wurde und in der “ZUSAMMENSCHAU 2012” beschrieben wird. Eine vertiefte Aufarbeitung haben die Beobachtungen im Astra Museum in unserer Publikation „Window & Wall“ 2012 in dem Beitrag „Morphological Observations“ erfahren.

Ganz etwas Besonderes war auch der Besuch der Festungsanlage PrejmerTartlau. Die Wehrgänge dort weisen eine Vielzahl unterschiedlich angeordneter und geformter Öffnungen auf. Viele der Öffnungen wirken als Lichteinlässe, obwohl sie ihre Formung einer gänzlich anderen Funktion verdanken (Abwehr von Feinden). Genau das ist aber das Spannende: Kein Fenster würde je so konzipiert werden. Erst die Funktionen der Abwehr haben Formungen hervorgebracht, die für den unvoreingenommenen Betrachter erstaunliche Lichtwirkungen im Wechselspiel mit dem Raum hervorbringen.

In unserer Publikation „Window & Wall“ 2012, Wehrkirche von Tartlau, werden diese Lichtphänomene eingehend dokumentiert und beschrieben und in der Gegenüberstellung mit modernen Architekturbeispielen („LeCorbusier’s Wallfahrtskirche in Ronchamp and Carlo Scarpa’s Aussegnungshalle im Friedhof von S.Vito d’Altivole“) in ihrem gestalterischen Potential diskutiert.

deschideri sunt surse de lumină, cu toate că au fost create pentru o cu totul altă funcție (de apărare contra duşmanilor). Dar, chiar asta este atât de fascinant – nici o fereastră nu ar putea fi concepută în acest fel. Întâi necesitățile de apărare au scos la iveală forme care pentru contemplatorul fără prejucăți aduc efecte uimitoare de lumină în interacțiunea acesteia cu spațiul. În cartea „Window & Wall“ 2012, textul intitulat Biserica fortificată din Prejmer documentează și descrie aceste fenomene ale luminii, discutând potențialul lor creativ în comparație cu exemple moderne de arhitectură („Biserica de pelerinaj a lui Le Corbusier de la Ronchamp și sala funerară a lui Carlo Scarpa din San Vito d'Altivole").

35 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2011

EN

CONTENT AND SHORT INTRODUCTION FOR STUDENTS About Creativity of Design and Sensibility of Restoration Windows articulate and organise the building structure. They can give a face to the building, Window openings can look to one from the distance (with character and emotion). Windows allow the admission of light in a very different and sensible way – in the darkness they can leave light and warmness outwards – are points of light in the distance.

Window frames form interspaces – frame images. Windows can be of light membrane or like perforated ornamental light scattering bodies.

Windows are sometimes shaded externally – support wide shops with folding shutters – are internally imposed with heavy or light materials.

Glass panels can be divided, coloured, decorated, and perhaps also act in the future as a source of energy. They open gradually or cut through, pierce the building. It is valid to explore, sketch and to build real-size models to examine the relationships between buildings, window frames and their environment from the interior and exterior perspectives, as well as the window as a translucent object itself.

Interior Design has always set itself apart to a large extent with the adaptation of historic buildings for new circumstances; this requires a sensitivity and understanding of the given structure. The amalgamation of a design workshop around the theme „Window and wall“ with the parallel restoration of historic windows can introduce students to this subject more detailed – insights provide constructive and aesthetic qualities which contribute in the historic window.

Insights provide the constructive and aesthetic qualities of which historic windows carry integrally. Due to their delicate manufacture most historical windows are now replaced by new windows that meet the current technological requirements. Economic pressure, ignorance and lack of sensitivity also promote the further irretrievable disappearance of the delicate aesthetics of old box-windows and glazing which so unobtrusively help shape the character and sensuous quality of buildings.

To convey a sense of the constructional intricacy of design, manufacture and characteristics, some of the students will restore a historic window in parallel. Presentations and analysis on restoration and conservation methods will support this work. It is a nice and wise proposal to do the workshop in the same space and parallel with students of wood restoration who are accompanied by Maria Cristina Timar. The presence of old elegant wooden window frames, which are restored step by step in a very sensible crafting way, will opening our eyes for the qualities of material, form, proportion and, nevertheless the potential of simple wooden window frames.

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2011 PROGRAMME IN SHORT 8th May–14th May

Day 1

8th May, Sunday 7:00 Arrival at Alba Iulia by train; Transfer by minibus to visit Alba Iulia; 10:00 Transfer by minibus to visit Sibiu. 12:00 Visit Open Air ASTRA Museum at Sibiu; 13:00 Lunch in restaurant of the museum; 16:00 Transfer by minibus to Brașov in the late afternoon; 18:00 Arrival at Brașov at students home on the University Hill and taking the rooms; “Coming together” in Mediateca Norbert Detaeye.

Day 2 9

th

Day 3 10

May, Monday

8:00 Breakfast; 9:00 First meeting and introductory presentation: Thomas Gronegger – “Design Process”, Christian Knechtl – “Invisible Materials for Architecture”; 10:00 Work; 12:30 Lunch; 14:00 Brașov walking & sketching; 16:00 Work; 19:00 Dinner; 20:00 Music & Chat in the Auditorium, visit of the Modern Classics Chair Collection. th

May, Tuesday

8:00 Breakfast; 9:00 Work; 11:00 Presentation Marius MarcuLapadat – “Window, Form and Construction”; 12:30 Lunch; 14:00 Excursion to Prejmer-Tartlau “walking & sketching”; 19:00 Dinner; 20:00 Late Night Work.

Day 4

11th May, Thursday 8:00 Breakfast: 9:00 Work; 11:00 Presentation Maria Cristina Timar – “Materials and Restoration”; 12:30 Lunch; 14:00 Work; 19:00 Dinner; 20:00 Work, Film, Music & Chat in the Auditorium.

Day 5

12th May, Wednesday 8:00 Breakfast; 9:00 Work; 11:00 Presentation Marina Cionca, Lidia Gurău and Alin Olărescu – “Windows in the Neighbourhood”; 12:30 Lunch; 14:00 Work; 19:00 Dinner; 20:00 Work, Film, Music & Chat in the Auditorium.

Day 6

13th May, Friday 8:00 Breakfast; 9:00 Work – students are finishing their works and prepare the exhibition, conclusions of the workshop, planning for Etnovember 2011 Festival; 12:30 Lunch; 14:00 Preparation of exhibition; 19:00 Vernissage in the Auditorium.

Day 7

14th May, Saturday 9:00 Breakfast; 11:00 Preparing luggage; 12:00 Walk to a nice place on the eastern border of Brașov in the woods – Pietrele lui Solomon – for preparing a barbeque; Departure ca. 17:00 from Brașov train station.

37 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2011

PHOTO DOCUMENTATION 2011

Train trip Vienna–Alba Iulia (students NDU); Meeting at the station of Alba Julia early in the morning with Marina Cionca, Antónia Czika, Codruț Abdi. Transfer by minibus to visit Alba Iulia; Transfer by minibus to visit Sibiu. Visiting of the Open Air ASTRA Museum at Sibiu and guided tour with the director of the museum Valeriu Ion Olaru. Special focus to the relation of „Window and Wall“ in vernacular architecture.

38 | THINKING ABOUT RURAL AND LOCAL SPRIT

First introduction in the workshop space and taking room together with the students of wood restoration in their bright and large atelier. Welcome speech by Cristina Timar explaning the projects for the students of wood restoration in this week and short lecture about „Formal Qualities, Restoration and Conservation of Historic Windows“.

Since the begining, there was the idea that „Window and Wall“ should be explored by crafting with models.

The restoration workshop should run parallel in the same space as „real-size“ experience of qualities. The „window“ was the overlapping theme for the different students of Restoration and Interior Design. Crafting on details is in direct contact of planning and designing.

39 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2011

First lectures related to the context of „Window and Wall“: Marius Marcu-Lapadat – „The window: Form and Expression“, Lidia Gurau – „Windows in the Neighbourhood“, Marina Cionca – „Events of the Sense of Sight“

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Practical introduction by Christian Knechtl: Beginning with first drawings – thinking about what is/could be a window, what is/could be a wall

41 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2011

Lecture by Thomas Gronegger: About classic relation of „Window and Wall“ (examples of Palladio and Michelangelo). Visiting the historic centre of the city, analytic drawings of classic facades and collecting inspirations. Visiting the White Tower and drawing the urban structure of the city and the „landscape of roofs“.

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First models 1:10 with corrugated cardboard. The particular situation is, that students are working on inside spaces, but not on the interior. The focus is mainly directed on the window as part of the space and also on various phenomena of light. Often these modell-spaces became experimental spaces of light.

43 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2011

Preparation of special pieces for casting forms in the workshop by Alin Olărescu.

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Working with plaster: One project was working with triangular openings in different directions trough the wall. For realizing this concept occured a negative model of the differently leaning triangular holes inserted in a rectangular cast. The liquid plaster was poured inside the thickness of the wall. The result consisted of a spectacular light theatre in the box.

45 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2011

Looking at the models it is visible what importance the „light breaking through the wall“ has gained and the reflections on the floor and on the walls, creating zones of warm light and colour and of overlapping reflexions or light-stripes.

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47 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2011

48 | THINKING ABOUT RURAL AND LOCAL SPRIT

Preparation of the exhibition and final presentation of the objects. Introduction by Cristina Timar for the restoration project and introduction by Marina Cionca for the „Window & Wall Project“.

Visit of Alin Olărescu and Andrea Deák at Sankt Pölten and paticipation at the „Formenwerkstatt“ about torsion of wooden pieces. Excursion to Vienna, visiting UNO City and the „porticus“ of Christian Knechtl.

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2012 DEALU FRUMOS / SCHÖNBERG 13th–19th May

INSIDE, OUTSIDE, IN-BETWEEN I

■ 24 students in mixed groups: IN-CHANGE – Adriana Anghel UAUIM, Manuel Weilguny NDU, Andra Pantea UTBv, Andrea Deák MA UTBv, Corinna Danninger NDU; ABSOLUTE GYPSY – Camina Nicolau UAUIM, Benedikt Dekan NDU, Iulia Rîpea UTBv, Susi Schäferle NDU, Emöke Vajda UAUIM; SIMIDRRA – Simone Werger NDU, Dragoș Nae Alexandru UAUIM, Michael Walker NDU, Raluca Schenker UTBv; PENTAGON – Ioana Moise UTBv, Sophie Kessler NDU, Laura Udrescu UAUIM, Miriam Franzolas UTBv, Michael Ellensohn NDU; M.A.C.K. – Katharina Lehr-Splawinsky NDU, Andreea Cojocaru UTBv, Marc Eidler NDU, Corina Frastelni UAUIM. ■ Concept and Teaching: Univ.-Doz. Dr. Thomas Gronegger NDU, prof. dr. Marina Cionca UTBv, prof. dr. arh. Marius Marcu-Lapadat UAUIM, assist.prof.dr. Alin Olărescu UTBv, prof. Neil Harkess NDU. ■ Teaching: assist.prof.dr. Mihaela Șchiopu UAUIM, assist.prof.dr.

Ioan Muscu, lecturer dr. Ionel Iștoc, Kathrin Baumgartner NDU ■ Organisation: Antónia Czika UTBv; Administrator Centrul de Arhitectură Vernaculară Dealu Frumos: Marcel Nemeti UAUIM; Local friends and helpers: Martin Maurer and Maria Pop.

IDEA & SPIRIT 2012

The research project “Window and Wall” 2011 in Brașov dealt with the window as a plastic, constructive translucent object, interacting with the building and its surroundings. In order to expand upon this theme in the upcoming workshop at Dealu Frumos 2012 a design based reflection on the design phenomena within the transition area between the internal and external spaces of buildings will take part.

It is also intended as an open reference to vernacular architecture.

The attempt to define “inside, outside and in-between” requires profound and basic research into the meaning of space, how space evolves and how one perceives, creates, defines and designs space.

Utilising medium of models and figures students will attempt to create scenarios which will focus on these topics. Scale-size human figures will enable the exploration of different psychological relationship with space and the various building elements.

In a further development these experiences could be utilised in more concrete, edificial and structural constellations and Pentagon – Ioana enable new typological examples regarding the correlation between building and their internal and external spaces.

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DE RO ZUSAMMENSCHAU 2012

PRIVIRE DE ANSAMBLU 2012

Der Workshop hat 2012 erstmals in Dealu Frumos stattgefunden. Marius MarcuLapadat (UAUIM), der ja bereits 2011 in Brașov an der Konzepterstellung beteiligt war und eine Vorlesung zum Thema „Window & Wall“ eingebracht hatte, lud uns im Februar 2012 ein, das Zentrum für Vernakulare Architektur im siebenbürgischen Dorf Dealu Frumos/ Schönberg zu besuchen, wo die UAUIM die Besitzerin der Wehrkirche, des Pfarrhauses, der Volksschule und seit kurzem auch eines neu erworbenen ehemaligen Gehöfts von Siebenbürger Sachsen ist. Bei dieser Reise trafen sich Thomas Gronegger und Neil Harkess (NDU) mit Marius Marcu-Lapadat (UAUIM) zunächst in Sibiu, um gemeinsam das Astra Museum, eines der größten und schönsten Freiluftmuseen zur bäuerlichen Kultur Europas, zu besuchen. Dann führte die Reise weiter ins etwa 60 km entfernte Dorf Dealu Frumos (ins geografische Zentrum Rumäniens), wo inzwischen auch Marina Cionca, Ioan Muscu, Alin Olărescu und Antónia Czika (alle UTBv) eintrafen.

Gemeinsam mit dem Verwalter Marcel Nemeti wurden alle Gebäude hinsichtlich der Unterkunftsmöglichkeiten und eines gemeinsamen großen Arbeitsraumes für Lehrende und Studierende inspiziert (der wunderbare ehemalige Pfarrgemeindesaal mit grobem Eichenholzboden bot sich für letzteres an)

În anul 2012 workshopul s-a desfășurat pentru prima oară în Dealu Frumos. Marius Marcu-Lapadat (UAUIM), care participase deja în 2011 la geneza conceptului de lucru și prezentase o conferință pe tema “Window and Wall”, ne-a invitat în februarie 2012 să vizităm satul Dealu Frumos/Schönberg unde UAUIM deținea în concesiune biserica fortificată, vechea casa parohială, vechea școală evanghelică și achiziționase de curând o gospodărie săsească tradițională (casă cu curte și acareturi). Această călătorie a început cu întâlnirea lui Thomas Gronegger și Neil Harkess (NDU) cu Marius Marcu-Lapadat (UAUIM) la Sibiu, pentru a vizita împreună Muzeul ASTRA din Sibiu, unul dintre cele mai mari și mai frumoase muzee în aer liber ale culturii țărănești din Europa. Apoi drumul i-a dus la 60 km depărtare, la Dealu Frumos (centru geografic al României), unde între timp sosiseră și Marina Cionca, Ioan Muscu, Alin Olărescu, Antónia Czika de la UTBv. Împreună cu administratorul Marcel Nemeti au fost vizitate locațiile de cazare precum și sala mare comună de lucru pentru profesori și studenți (minunata sală de întrunire parohială cu dușumele brute de stejar).

Inside, Outside, In-between I DER NEUE ORT

INHALTE Der tragende Grundgedanke für den Workshop in Dealu Frumos war, gestalterisch zu erkunden und sinnlich und nachdenkend zu erfahren, was „Raum“ bedeuten kann. Wir versuchten, uns an diese Fragestellung über die polare Konstellation von „Inside, Outside, InBetween“ heranzutasten und daraus 52 | THINKING ABOUT RURAL AND LOCAL SPRIT

Inside, Outside, In-between I LOCUL CEL NOU

CUPRINSURI Ideea fundamentală pentru workshopul de la Dealu Frumos a fost aceea de a cerceta și documenta, apoi de a afla prin percepție și gândire care ar putea fi semnificația “spațiului”. Am încercat să ne apropiem treptat de constelațiile conceptelor de Inside, Outside și In-between, și astfel să dezvoltăm căi de investigare sub formă de teme de lucru.

De la început am considerat important să ne apropiem perceptiv de temă prin creație, improvizație și realizare directă cu ajutorul materialelor avute la îndemână. În acest fel

grundlegende „Suchstrecken“ in Form von Aufgabenstellungen zu entwickeln. Von Anfang an erschien es uns wieder wichtig, uns stark über das gestalterisch-bastelnde und improvisierende Tun mit Materialien sinnlich und von der Wahrnehmung her dem Thema zu nähern. Dabei sollten mit dem Bauen simpler bühnenartiger Modelle mit kleinen Maßstabsfiguren exemplarische Situationen entwickelt werden, die diese räumlichen Themen auf vielfältige Weise aufnehmen und sie möglichst prägnant auf den Punkt bringen.

Die Frage, was Innen, Außen oder Dazwischen sein kann, führt unvermittelt an die Grundfragen heran, was „Raum“ überhaupt ist, wie Raum entsteht und wie man Raum spürt und erlebt. Besonders eindringlich scheinen diese Fragen auf, sobald Maßstabsfiguren ins Spiel gebracht werden. Wir erinnern uns aus spielender Kindheit wie wir uns mittels Spielfiguren mit dem Modellraum identifizieren können und fähig werden, über dieses Medium den (kleinen) Raum aus einer imaginierten Perspektive zu erleben und zu spüren – so als würden wir selbst anstatt der Spielfiguren darin wandeln. Sobald in den Übungen die menschliche Figur in die bühnenbildartigen Modelle eingebracht wurde, stellten sich eindringliche, psychologisch dichte Situationen ein, die den Dialog mit dem Modellraum auch inhaltlich zuspitzten. Diesen psychologischen Fragen versuchten wir über die Wortbedeutungen von „Innen, Außen und Dazwischen“, bezogen auf die Bildung von Orten und Räumen, nachzugehen. Mit diesem „Word Work“ wurde die Arbeit von Anfang an nicht nur von einer gestalterisch formalen und sinnlich räumlichen, sondern auch von einer starken inhaltlichen und psychologischen Komponente getragen.

ANKUNFT UND AUFTAKT Nach Ankunft der Studierenden aus St. Pölten am frühen Morgen am Bahnhof in Alba Julia und kurzem Besuch dieser wunderbaren

urmau să fie realizate modele la scară de tip scenografic, cu mici figuri omenești, care să dezvolte situații de referință, capabile de a prelua tematica spațială în multiple moduri, rezolvând-o în mod concis și clar. Întrebarea ce ar putea însemna înăuntru, în afară sau între cele două, conduce nemijlocit la întrebări fundamentale: ce este de fapt spațiul, cum se creează spațiul, cum se percepe și se experimentează acesta. Aceste întrebări devin presante atunci când micile figuri umane la scară intră în scenă. Ne putem aminti din copilărie cum ne putem identifica cu spațiul-model prin intermediul unor astfel de figuri, devenind capabili să percepem și să simțim mediul micului spațiu dintr-o perspectivă imaginară, ca și când noi înșine am fi acolo în locul omuleților. Imediat ce au fost aduși omuleții în spațiile-model create, au apărut situații dense, psihologic insistente, care au intensificat dialogul cu spațiul și din punctul de vedere al conținutului acestuia. Am încercat să mergem pe urmele acestor întrebări psihologice referitoare la semnificația cuvintelor Inside, Outside, Inbetween în relație cu crearea unor locuri și spații (sau încăperi). Cu acest “WordWork” a fost coordonată de la bun început activitatea noastră, nu numai ca şi creație de forme și percepție a spațiului ci cuprinzând componente puternice psihologice și de conținut.

SOSIRE ȘI PRELIMINARII După sosirea dimineața devreme la gara din Alba-Iulia, noi cei din St. Pölten, studenți și profesori, am vizitat acest minunat oraș încărcat de istorie împreună cu Marina Cionca, Antónia Czika și Andrea Deák, am călătorit apoi cu microbuzul până la Sibiu la Muzeul ASTRA. Acolo ne-am întâlnit cu studenții din Brașov și am petrecut câteva ore studiind și desenând tipologii de case și gospodării, construcții vernaculare din lemn și împletituri. După-amiaza târziu am pornit spre Dealu Frumos, unde ne-am adunat cu studenții și profesorii de la UAUIM București (pictorița Mihaela Șchiopu și sculptorul

53 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2012

geschichtsträchtigen Stadt gemeinsam mit Marina Cionca, Antónia Czika und Andrea Deák fuhren wir mit dem Microbus nach Sibiu ins Astra Museum. Dort trafen wir mit weiteren Studierenden aus Brașov zusammen und verbrachten einige Stunden mit zeichnerischen Studien zu einfachen bäuerlichen Haus- und Hoftypologien, vernakularen Holzkonstruktionen und Flechtstrukturen.

Am späten Nachmittag fuhren wir weiter nach Dealu Frumos, wo wir mit den Studierenden und Lehrenden (der Malerin Mihaela Șchiopu und dem Bildhauer Jonel Iștoc) aus Bukarest (UAUIM) zusammentrafen. Noch am Abend haben wir die Studierenden so gemischt, dass in jeder Gruppe alle drei Universitäten vertreten waren. Nach der Einführung und Programmübersicht schlug Marina Cionca vor, dass die Gruppen einen Namen für sich finden und ein Plakat zu ihrer Haltung und Identität anfertigen sollten. „Da“ ist erst, was einen Namen hat. Genauer war die Idee nicht definiert und vielleicht brachte gerade das die einander noch „fremden“ Studierenden, über knappes Posterformat gebeugt, so in lebendig sich austauschendes hitziges Nachdenken, Schreiben und Basteln. Das Mischen der Gruppen und das „Poster of Identity“ blieben fortan in den Wochenworkshops fester Bestandteil.

ERSTE PHASE In der ersten Phase wurden die in „Inhalte“ erwähnten, relativ offenen Aufgabenstellungen zum Modellbau kleiner bühnenartiger Szenen gestellt, die sich mit fundamentalen Raumempfindungen auseinandersetzen (weit, eng, hoch, niedrig, nah, fern) sowie in der Folge mit unseren Grundthemen – „Inside, Outside, In-between“. Diese Aufgabenstellungen wurden mit einfachen Wand- und Pfeilerelementen aus Pappe und wenigen selbst angefertigten Figuren inszeniert.

WORD WORK Im gemeinsamen „Word Work“ dachten wir zunächst allein über den Begriff „Innen“ 54 | THINKING ABOUT RURAL AND LOCAL SPRIT

Ionel Iștoc). În aceeași seară am pus la punct grupurile de lucru, mixând studenții în așa fel încât în fiecare grup să fie reprezentanți de la toate universitățile. După introducere și prezentarea programului Marina Cionca a propus ca fiecare grup de lucru să primească o denumire și să realizeze un poster în care să-și reprezinte identitatea și stilul propriu– de-abia acum, având un nume, fiecare grup a intrat în realitate. Ideea aceasta nu a fost definită mai precis, și poate tocmai asta i-a adus împreună pe studenții încă străini unul de celălalt, aplecându-i peste formatul relativ mic al acelui poster identitar, în dezbatere aprinsă asupra expresiei de grup, gândind, scriind și meșterind. Mixarea grupelor și acel “Poster of Identity” au rămas de-atunci părți componente fixe ale workshopurilor noastre.

PRIMA FAZĂ În prima fază au fost discutate conținuturile, de altfel foarte deschise, ale temelor de lucru referitoare la crearea și construirea micilor scenografii, care urmau să exprime percepții fundamentale ale spațiului (larg, strâmt, înalt, scund, aproape, departe) precum și să găsească răspunsuri pentru temele noastre de bază–Inside, Outside, In-between. Această tematică de lucru s-a configurat/ pus în scenă concret cu elemente simple, pereți și stâlpi din carton, și câteva ființe umane confecționate ad-hoc.

WORD-WORK În timpul lucrului în comun la „Word-Work“ ne-am gândit la început doar la conceptul de „înăuntru/inside”. Pe scurt era vorba despre „înăuntru” în cutia protectoare a locuinței, în orașul fortificat, inăuntrul granițelor etc. Am urmat calea întrebării asupra felului cum se caracterizează „înăuntrul”: configurat ca loc al întrunirii, al schimbului, al amestecului, al administrării și organizării, al sosirii sau al plecării, etc. Ne-am convins că „înăuntrul” poate fi creat prin închidere, împrejmuire, trasare, încercuire, etc. De asemenea ni s-a relevat faptul că motivul pentru această delimitare, împrejmuire, nu este numai un

nach. Knapp zusammengefasst ging es um das „Innen“ etwa in Bezug auf das schützende Gehäuse, die ummauerte Stadt, das Herüben und Drüben entlang einer Grenze etc. Wir gingen der Frage nach, wie sich das „Innen“ charakterisieren lässt: dass „innen“ zum Beispiel Orte des Zusammenkommens, des Austauschs, des Durchmischens, des Verwaltens und Organisierens, des Ankommens oder Verlassens etc. entstehen.

Wir machten uns bewusst, dass das „Innen“ durch Umschließen, Eingrenzen, Abstecken, Einzirkeln etc. entstehen kann.

Auch wurde uns bewusst, dass Motive für dieses Eingrenzen/Umgrenzen nicht nur aus dem Wunsch nach Sicherheit, nach Schutz, nach geschütztem Kultivieren etc. entstehen können, sondern auch durch den Willen zum Beherrschen oder Kontrollieren, zum Abgrenzen oder Ausgrenzen etc. angetrieben werden können. Schon standen wir im Zentrum uns gegenwärtig bedrängender gesellschaftlicher oder persönlich erlebter Fragen. Nach ähnlichen Denkprozessen sollten die Studierenden dann über die Begriffe „Außen“ und „Dazwischen“ nachdenken. Vor diesem Hintergrund gewannen die Inszenierungen zu den Aufgabenstellungen an innerer Spannung sowie psychologischer und erzählerischer Tiefe.

rezultat al dorinței de siguranță, de protecție, de cultivare asigurată, ci poate fi un efect al voinței de a controla, de a pune frontiere. Ne situam în centrul acestor întrebări presante de tip social sau personal. Prin procese de gândire similare studenții urmau să dezbată și conceptele de „înafară/outside“ și de „între/inbetween“. Pornind de la acestea, micile puneri în scenă ale temelor de lucru au câștigat tensiuni interioare și profunzimi psihologice și narative.

REZUMAT Retrospectiv privind a devenit foarte limpede ce cuprindere a creat această tematică pentru studenți. Rezultatele lucrului direct au fost foarte eterogene și au constat în lucrări artistice, minunat de poetice. Contemplarea mai precisă și examinarea de fond a acestora a scos la iveală faptul că în cadrul relativ strâmt și prea definit, care accepta asemănări și diferențieri între proiecte, lipsea totuși ceva.

Am devenit conștienți că am lucrat într-un loc atât de remarcabil fără a-l include de fapt în proiect.

RESÜMEE Im Nachhinein zeigte sich, welchen Spannungsbogen das Thema für die Studierenden bis zuletzt bildete. Die Ergebnisse waren gestalterisch sehr heterogen und es entstanden wunderbare künstlerische und poetische Arbeiten. Das genaue Betrachten und Ausloten allerdings, das ein enger abgesteckter und definierter Rahmen zulässt, der Vergleiche und Vertiefungen im Austausch zwischen den Projekten ermöglicht, war etwas, das fehlte.

Auch wurde uns spürbar bewusst, dass wir an so einem stark geprägten Ort gearbeitet hatten, ohne diesen selbst einzubeziehen.

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2012 PROGRAMME IN SHORT 13th May–19th May

Day 1

13th May, Sunday 7:06 Arrival at Alba Iulia (Students NDU); Meeting with Marina Cionca and Andrea Deák–Coffee and walk in the city; 10:00 Bus to Sibiu; 11:00 Meeting with the students of Brașov at ASTRA Museum and visit.

12:00–13:00 Lunch break; 14:00 Walk, visit and drawing in the museum; 17:00 Transfer to Dealu Frumos; 18:00 Arrival, meeting of the students of Bucharest, taking the rooms and preparation of the dinner; 19:30 Dinner; 20:30 Mixing of the groups (5 groups of 4-5 students) and general overview about the workshop; Welcome Party.

Day 2

14th May, Monday

08:30–09:00 Breakfast; 09:00 POSTERS AND IDENTITY Students are working on their posters, defining name and identity of the groups and presentation; 12:00 Introduction „WORD WORK“ – Discussing about what is space, what is “inside”, what is “outside”, what is meant by “in-between”? We try to characterize “what is space” and how can we describe or define space. Collecting different terms related to space (such as “enclosing, encircling, setting out, etc. …”) we become conscious of the various concepts of space that exits and how these concepts are related to the multitude of ways how this space appears, builds, works or is structured.

13:00–14:30 Lunch, dishes and siesta; 14:30 Visit to Dealu Frumos, looking for the places of major importance (fortified church, priest house, walk along the axes of the village, shop); 15:30 Visit of the fortified church; 17:00 Coffee break and introduction into the topics; 19:00– 19:10 Short overview about the work; 19:10–19:30 Preparing dinner / cleaning the working room; 19:30–20:30–Dinner / dishes; After eight–walk in the village.

Day 3

15th May, Tuesday 08:30–09:00 Breakfast; 09:15 Introduction and discussion with slide lecture (inside, outside, in-between situations in architecture and landscape); 10:00 EXERCISES – To initiate the workshop we try to create little (model) scenes, reflecting on basic spatial constellations. With these models and scale figures we enter into a playing method in order to test out different situations – on what the relationship between inside, outside and in-between could be based. Every exercise should be worked out in the following manner: Make sketches and models of

56 | THINKING ABOUT RURAL AND LOCAL SPRIT

simple sections of walls and or pillars utilising scale figures and create 1:50 sceneries, elaborating the exercise task. Try to make variations or modifications of the initial idea. Make photographs of the stage set from various points of view (overview, details, but also try to enter “into” the scenery with photos looking from the position of a stage protagonist). Think about feelings and sensations whilst putting yourself in the position of the figures. Find words for these sensations and describe your observations for each model with short texts. Take always into consideration our initial “word-work”. Be conscious about different concepts of space. Try to sharpen your initial ideas in your models and try to express them in a very intense “scenographic” manner.

13:00–14:30 Lunch, dishes and siesta; 14:30 EXERCISES – The aim is to express the spatial definitions “Inside”, “Outside” and “In-between” in compact form by means of simple stagings. Two tasks are assigned to each of the five groups in the form of drawn and commented exercise sheets, which open up the topic area from different perspectives, to stimulate a rapid access into the reflecting by doing: Please reflect about Inside, Outside, In-between by drawing and modelling about following topics: 1. Two walls; 2. Three walls; 3. A short corridor passage; 4. A long corridor; 5. Entrances or windows; 6. A sequence of openings; 7. An opened and closed wall; 8. Inside; 9. Outside; 10. In-between; 19:00–19:10 Cleaning of places and preparation for review; 19:10–20:30 Preparing dinner; 20:30–21:00 Dinner / dishes; 21:00 Presentation and discussion of the first concepts and models.

Day 4 16 May, Wednesday

th

08:30–09:00 Breakfast; 09:15–13:00 Working on the ten exercises; Thomas Gronegger – slide show about “Inside, outside, in-between” situations (Jože Plečnik at Ljubljana and Krain; Memorials of Bogdan Bogdanović in the former Yugoslavia).

13:00–14:30 Lunch, dishes and siesta; 14:30 Working on the ten exercises; 17:30 Presentation about “in-between spaces” in relation to vernacular buildings (veranda, prispa) by Alin Olărescu ; 19:00–19:10 Short overview about the work; 19:10 19:30 Preparing dinner /

57 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2012

cleaning of the working room; 19:30–20:30 Dinner / dishes; 20:30 working with open end. Movie night: *Transylvanian Girl (Maia Morgenstern)

Day 5

17th May, Thursday 08:30–09:00 Breakfast; 09:15–13:00 FINAL PROJECT: On base of the experiences of the ten EXERCISES and the reflections trough the „WORD-WORK“ every group or also single students develop a stage set, which expresses a significant spatial and psycological situation of inside, outside or in-between. Material and size is free to choose; 13:00–14:30 Lunch, dishes and siesta; 14:30 Working on the final project; 19:00–19:10 Short overview about the work; 19:10–19:30 Preparing dinner / cleaning of the working room; 19:30–20:30–Dinner / dishes; 20:30 open end working night.

Day 6 18

Day 7 19

th

May, Friday

08:30–09:00 Breakfast; 9:30–13:00 Finalizing projects.

13:00–14:30 Lunch, dishes and siesta; 14:30–16:00 Finalizing projects; 16:00–19:00 Preparations for the exhibition; 19:30–20:30 Dinner / dishes; 20:30 Exhibition opening and party with Marina Cionca and Marius MarcuLapadat. th

May, Saturday

09:00–10:00 Breakfast; 10:00–11:00 Luggage; 11:00–12:45 General cleaning of all spaces (work room, kitchen, bedrooms and bathrooms); 13:00–14:30 Lunch, dishes; 14:30 Departure: students of Bucharest; 16:00 Departure: Students of Sankt Pölten / Dealu Frumos–Mediaș, departure Mediaș (train). Departure students of Braşov.

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PHOTO DOCUMENTATION 2012

Arrival at Alba Iulia and transfer to Sibiu ASTRA Museum. Marina Cionca and Ioana Moise at ASTRA Museum in Sibiu.

ASTRA Museum: Roofs and woven fences covered with hay, vernacular constructions from all parts of the country. Wooden turnable wind mills.

59 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2012

Dealu Frumos: View from the Saxon cemetery towards the fortified church.

Former community hall in the fortified church arranged as working space and breakfast in the community hall.

Alin Olărescu: Review about vernacular constructions at ASTRA Museum

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Starting to work in mixed groups (St.Pölten, Brasov, Bucharest) working on „Poster and Identity“

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“Poster and Identity”: Posters crafted in mixed techniques showing a logo and a name of the group and some basic thoughts about the group’s identity and attitude. Presentation of the posters (here group “in change”)

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Crafting of little scale figures (aluminium paper wraped around needles and covered with black wax) Experimental setting of figures in different environments, changing the scale of the context and documentation of the experiments.

63 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2012

Introduction of the single groups to the first exercises and starting to work: From ten different hand-drawn and written simple exercises two were assigned to each of the five groups. The exercises reflected different spatial and psychological situations of “Inside, Outside, In-between”. First little sceneries with figures testing situations of inside, outside, in-between.

Talking about the meaning of “Inside, Outside, In-between” (word-work) and introduction in the final project: Develop a stage set, which expresses a significant spatial and psychological situation of inside, outside or in-between. Material and size is free to choose.

Reflecting about “word-work” and different psychological concepts of “inside, outside, in-between” and discussion in the groups.

64 | THINKING ABOUT RURAL AND LOCAL SPRIT

65 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2012

Working on stage-sets and final objects expressing a significant spatial and psychological situation of inside, outside or in-between. Presentation of the work.

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Departure scene: Hugging and crying

Exposition at the „Rumänisches Kulturinstitut“ Vienna in september 2012

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Exposition Etnovember Festival, 2012: Opening speech by Marina Cionca, Mihai Ispas, Simona Lache Release and presentation of the first Book „Window and Wall“ during the opening of the Etnovember Festival

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Meeting and coming together of students form St. Pölten, Brașov and Bucharest and talks with Marius-Marcu Lapadat

Short Workshop about „Wood Connections“ organized by Alin Olărescu at the R&D Institute of the Transilvania University

69 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2012

2013 DEALU FRUMOS / SCHÖNBERG 7th–13th April

INSIDE, OUTSIDE, IN-BETWEEN II

■ The mixed groups of 24 students: CONNEXI – Constantin Chiriac UTBv, Daniela Truță UAUIM, Ionelia Brebeanu UTBv, Elisabeth Napetschnig NDU, Lukas Kerschbaum NDU; NEST – Andreea Cojocaru UTBV, Andreea Cornilă UAUIM, Attila Horváth UTBv, Spendier Jeanette NDU; SAMEOTHERS – Andra Pantea UTBv, Köck Marianne NDU, Levente Bagoly UAUIM, Plasch Elisabeth NDU; FARYTALES – Alexandra Pătrașcu UAUIM, Andrea Deák UTBv, Miriam Franzolas UTBV, Georg Popp NDU, Claudia Wiesmeier NDU, FRESHMEN – Anca Craciun UAUIM, Andreea Ciucu UTBv, Cornelia Gusenbauer NDU, Nicolae Fola UTBv ■ Undergraduate students: Benedikt Dekan, Elisabeth Fellner ■ Concept and Teaching: Univ.-Doz. Dr. Thomas Gronegger NDU, prof. dr. Marina Cionca UTBv, prof.dr. Marius Marcu-Lapadat UAUIM, assist.prof.dr. Alin Olărescu UTBv ■ Teaching: assist.prof.dr. Ioan Muscu, dr.arch. Biborka Bartha UTBv, assist.prof.dr. Mihaela Șchiopu UAUIM, lecturer dr. Ionel Iștoc UAUIM ■ Organisation: Antónia Czika UTBv; Administrator Centrul de Arhitectură Vernaculară Dealu Frumos: Marcel Nemeti UAUIM; Local friends and helpers: Alina Şamu and Martin Maurer.

IDEA & SPIRIT 2013 First glance

• We do a second version of „Inside, Outside, In-between“ • We try to deal in a very busy basic manner with the question „What is space“.

• We put this question „What is space“ in relation with qualitative characteristics of space (how do we feel the space, which atmosphere does this space transmit and can this space express metaphorical characteristics for: psychological relations, situations, conditions?

• We begin an arts- and design based research by drawing and modelling little sceneries about „Inside, Outside, In-between“ trying to understand what is this space modelled by our hands– what could this space be, what could it transmit, are there other layers of significance?

• All we do is simple.

Second glance

• We try also to bring the workshop programme in relation with our village Dealu Frumos/Schönberg.

• We visit Dealu Frumos on different routes with a prepared plan. In this plan will be proposed some significant places. By walking and looking around, the students groups can look also for – or find – different places as the proposed ones.

• Once every group found a place – they study it on behalf of objective and subjective documentations and observations: finally they should try to capture the „spirit“ of this place and transform it in words.

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• All we don’t do is to think about precise purposes, functions ...

Third glance

• The little scenographic models which are reflecting and dealing with basic spatial perceptions or sensations, which emit possibly a certain atmosphere or create with simplest elements some metaphoric narrative situations ...

• ... these models should be understood like real sized interventions on the various significant places which each group found in the village.

• These models should reflect and create a resonance of the „spirit“ of this special place.

• All we do is to create public spaces like mythical places in and around the village ▶ without any specific purpose ▶ with aura and spirit ▶ somehow fitting and somehow going through Obviously, it seems a very artistic way to interpret space, and to tackle the „ideas“. On the other hand there will be a huge range of steps in which we can try and test in a very methodical way, in spatial arrangements to realize various perceptions.

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DE RO ZUSAMMENSCHAU 2013

PRIVIRE DE ANSAMBLU 2013

KONTINUITÄT UND VERTIEFUNG Bei der Vorbereitung des Workshops 2013 versuchten wir, auf wesentliche Erfahrungen aus 2012 zu reagieren. Wir wollten Kontinuität und Vertiefung in den gelungenen Aufgabenstellungen erreichen und zugleich den Rahmen gestalterischer Arbeit genauer abstecken, um gegenüberstellbare Ergebnisse zu erhalten, die Abweichungen und Entwicklungen bewusst werden und genauer diskutieren lassen. Zudem wollten wir erstmals den Ort Dealu Frumos in die Auseinandersetzung auf geeignete Weise einbeziehen und Aufgabenstellungen so formulieren, dass sie von den Gruppen stärkere Teamarbeit erfordern. Wieder sollten in jeder der Gruppen Studierende von allen drei Universitäten vertreten sein. Gleich am Hauptplatz von Sibiu, wo alle Studierenden zum ersten Mal zusammentrafen, losten wir nach der bewährten Mischungsregel fünf Gruppen mit vier bis fünf Studierenden aus allen Universitäten zusammen.

CONTINUITATE ȘI APROFUNDARE La pregătirile pentru workshopul 2013 ne-am străduit să acționăm pe baza experiențelor importante acumulate în 2012. Am dorit să realizăm o continuitate și o aprofundare a tematicii de lucru reușite și în același timp să precizăm mai bine cadrul lucrărilor de creație pentru a obține rezultate comparabile care să ducă la conștientizarea diferențelor și a evoluțiilor provocând discuții mai precise.

Mai mult, am dorit ca mai întâi să atragem în discuție locul numit Dealu Frumos în mod adecvat și să formulăm temele de lucru în așa fel încât să solicite grupurilor o muncă mai intensă în echipă. La fel ca mai înainte fiecare grup de lucru trebuia să cuprindă studenți de la toate trei universitățile. Chiar acolo, la primul loc de întâlnire a participanților, în Piața Mare din Sibiu, am prefigurat cinci grupuri conform regulii de mixare, cu câte patru sau cinci studenți proveniți din toate universitățile.

Inside, Outside, In-between II Working with a Village

GERICHTETER BLICK UND ERLEBTER RÄUMLICHER KONTEXT Durch die Auseinandersetzung mit einfachen bäuerlichen Haustypologien versuchten wir beim Auftakt im Freiluftmuseum der bäuerlichen Kultur in Sibiu an das Programm des Vorjahres anzuknüpfen. Diesmal sollte der Blick aber gerichteter sein und insbesondere die Verzahnung von „Innen“ und „Außen“ an Beispielen bäuerlicher Haustypologien mit einer „Prispa“ oder Veranda fokussieren (der überdachte, oft auf Holzpfeilern ruhende Bereich vor der Fassade). Dazu hat Alin Olărescu vor Ort einen Vortrag mit einer von ihm anschaulich gezeichneten,

Inside, Outside, In-between II Working with a Village

PRIVIRE ORIENTATĂ ȘI CONTEXT SPAȚIAL TRĂIT Am încercat să ne conectăm la programul din anul precedent prin discuția asupra tipologiilor simple de case țărănești în timpul vizitei preliminare la Muzeul ASTRA din Sibiu. De această dată însă privirea urma să se îndrepte mai precis către articularea dintre „înăuntru” și „înafară” la tipologiile de case țărănești cu prispă sau verandă (acele spații din partea frontală a fațadei care se sprijină pe stâlpi). Pe această temă Alin Olărescu a făcut pe loc o prezentare animată cu desene de mână pe un sul de hârtie rulată, care era derulată de către doi studenți pe măsură ce era necesar. În timpul prezentării Alin Olărescu a mai făcut completări la aceste desene. Apoi studenții au căutat în muzeul în aer liber

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ausrollbaren Schautafel gehalten, die von zwei Studierenden wie ein Transparent hochgehalten wurde. Vortragend hat Olărescu die Zeichnungen noch ergänzt.

Die Studierenden suchten dann im Freilichtmuseum nach den angesprochenen Typologien und fertigten Zeichnungen an. So war der Besuch des Museums auf ein Thema gerichtet, das für einige der folgenden Aufgabenstellungen einen räumlich „erlebten“ Hintergrund bildete.

DORFSPAZIERGANG AUSWÄHLEN UND BETRACHTEN VON ORTEN In Dealu Frumos hat der „Walk trough the Village“ ebenso eine Vertiefung und stärkere inhaltliche Verankerung erhalten und wurde so zu einer wichtigen Aufgabenstellung im Gesamtprogramm, die auch zukünftig bestehen und adaptiert werden sollte. Es ging diesmal nicht mehr um ein knappes Kennenlernen des Dorfes, sondern um ein sukzessives Auswählen verschiedener Orte im Dorf (looking for good places) durch die Gruppen, die diese später genauer betrachten sollten, um Gestaltungsüberlegungen zu entwickeln. Bei der Aufgabenstellung zum „Poster of Identity“, nach dem Dorfspaziergang, kam nun auch der Aspekt des „ausgewählten Ortes im Ort“ und die Gründe für die Wahl dazu.

Wir wollten also mit dem Dorf arbeiten – aber nicht ausschließlich. Es sollte eine Pendelbewegung aus Nähe zu konkreten Orten und distanznehmendem, methodischem Nachdenken zu „Inside, Outside, In-between“ werden, die sich wechselseitig speist.

METHODISCHES ERKUNDEN VON MÖGLICHKEITEN Das methodische Nachdenken sollte das Thema „Inside, Outside, In-between“ mit neuen gestalterischen Aufgabenstellungen ausloten, die sich noch stärker den grundlegenden Fragen widmeten: Wie bildet sich für unsere Wahrnehmung Raum überhaupt und welche psychologische 74 | THINKING ABOUT RURAL AND LOCAL SPRIT

tipologiile prezentate și au realizat desene. În acest fel vizita la muzeu a fost orientată către o anumită temă, ceea ce a devenit un context spațial deja trăit în cazul unora dintre temele de lucru care au urmat.

ALEGEREA TRASEULUI DE DRUMEȚIE PRIN SAT ȘI CONTEMPLAREA LOCURILOR În Dealu Frumos drumul prin sat /walk through the village/ a devenit mai important și a primit un conținut mai solid, devenind astfel un punct esențial din program, urmând să aibă loc și pe viitor în forme adaptate. De data asta nu mai putea fi vorba de o cunoaștere sumară a satului, ci de o alegere succesivă a diferitelor locuri din sat (looking for good places) de către grupurile de lucru, pe care mai târziu le vor contempla cu mai multă atenție pentru a genera idei creative. La realizarea posterului identitar/poster of identity al fiecărui grup, după plimbarea prin sat, s-a fixat și „locul ales” împreună cu justificarea alegerii făcute. Voiam, deci, să lucrăm cu satul – dar nu exclusiv. Trebuia realizată o mișcare pendulară în care se animă continuu apropierea de locul concret și gândirea metodică la distanță, despre “Inside, Outside, In-between”.

IDENTIFICAREA METODICĂ A POSIBILITĂȚILOR Gândirea metodică trebuia să îmbogățească tema „Inside, Outside, In-between“ cu noi misiuni de creație care să se dedice mai puternic chestiunilor fundamentale: cum se alcătuiește de fapt pentru percepția noastră spațiul și ce efecte psihologice poate avea acesta. Misiunile de lucru și-au schimbat caracterul în consecință, deoarece ele s-au poziționat ca instrumente de cercetare a posibilităților de creație și a pregătirii interioare, înainte ca un proiect destinat unui loc anume din sat, vizitat în repetate rânduri, să fie eleborat în fază finală.

FIGURINELE UMANE Ca și în 2012 au fost meşterite figurine umane din folie de aluminiu, cu ace cu gămălie și

Wirkung kann dieser Raum haben?

Diese Aufgabenstellungen änderten auch insofern ihren Charakter, als sie als Erkundungsinstrument gestalterischer Möglichkeiten und der inneren Vorbereitung angelegt wurden, bevor in einer finalen Phase ein Projekt für den anfangs ausgewählten und sukzessiv immer wieder besuchten Ort im Dorf entworfen wurde.

KLEINE FIGUREN Wie schon 2012 wurden kleine Figuren aus Küchenalufolie, Stecknadeln und schwarz gefärbtem Wachs angefertigt, die in etwa dem Maßstab 1:50 entsprachen–also mit 3–4 cm eine reale Größe von 150 cm bis zu stattlichen 200 cm in die gebastelte Modellszenerie übersetzen.

Die Studierenden fertigten davon je 7 Figuren an. So verfügte jede Gruppe schnell über mehr als dreißig Figuren. Für die einzelnen Aufgabenstellungen wurden einheitliche Plattengrößen vorgegeben.

Darauf sollten die Studierenden einzeln oder in Gruppen Szenerien erstellen.

Zunächst sollten die Studierenden erkunden, wie ganz wenige Figuren alleine (ohne zusätzliche Elemente auf der vorgegebenen Plattform) zwischen sich und um sich herum Raum aufspannen, welche räumliche und psychologische Rolle dabei die Positionierung auf der Plattform (am Rand, näher zum Zentrum etc.) und das Verhältnis zueinander (eng beieinander, zunehmend weiter voneinander etc.) sowie die Ausrichtung (zueinander gerichtet, abgewandt etc.) spielt (die kleinste Plattform hatte 15 cm x 20 cm = 7 x 10 m Realgröße).

Dazu kamen dann Fragen der Richtung– die Figuren mit nur wenigen Zentimetern Größe zeigten über die Schulter-HalsKopf-Partie und den Oberkörper ein klares Vorne und Hinten sowie eine deutlich erkennbare Richtung. Das Sich-Zuwenden, das Abwenden, das „Aneinander vorbei“/ „Aufeinander zu“ verstärkten die erwähnte psychologische Komponente. All dies ließ

ceară vopsită în negru care corespundeau în mare scării de 1:50–cei 3-4 cm ai lor corespundeau, deci, unei înălțimi umane reale de 150– 200 cm, și aceștia au fost transferați în machetele construite.

Studenții au meșterit fiecare câte șapte – astfel fiecare grup de lucru dispunea de mai bine de 30 de omuleți. Pentru fiecare proiect au fost puse la dispoziție panouri de diferite dimensiuni. Pe acestea fiecare individ, respectiv grup, își construia ideea.

Apoi studenții trebuiau să descopere cum un număr restrâns de figurine (fără alte elemente adăugate pe panou) dau viață spațiului interacționând între ei, ce rol spațial și psihologic joacă poziția lor pe platformă (la margine, aproape de centru, ...etc.), relația dintre ei (foarte apropiați, progresiv mai îndepărtați, ..etc.), precum și orientarea acestora (orientați unul către altul, întorși, ... etc.) (panoul-platformă mic avea 15 × 15 cm = 7 × 10 m mărime reală). Apoi au apărut chestiunile legate de poziția reciprocă (figurinele, așa mici cum erau puteau indica prin componentele umăr-gât-cap și bust spre „în față” și spre „în spate” precum și o direcție clar identificabilă). Poziționarea micilor figurine, orientate una către cealaltă sau întoarse, trecând una de cealaltă, sau una spre cealaltă, a întărit componenta psihologică menționată. Toate acestea s-au lăsat percepute și recunoscute pentru că întâi am luat în serios doar figurina în sine și observând pe dibuite ne-am implicat într-un dialog – puținul poate însemna tot.

Spectaculoasă a fost diferențierea caracteristicilor figurilor (în ciuda similitudinilor de mărime și material și a a confecționării simple și rapide) precum și a mișcării lor de scenă în fiecare machetă (în ciuda similitudinilor de dimensiune, material și finisare). Limitarea a scos la iveală un fel de varietate care a permis observarea prin comparare și identificarea temei organizate astfel. În continuare a fost mărit cu prudență numărul figurinelor până când aproape toate au fost instalate pe platformele mai

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sich nur spüren und erkennen, weil wir zuerst nur „allein die Figur für sich“ ernst nahmen und uns tastend beobachtend in einen Dialog damit begaben – wenig ist alles.

Spektakulär waren die entstandene unterschiedliche Charakteristik der Figuren (trotz gleicher Größe und Material und einfachster rascher Anfertigung) und die vielfältigen Szenerien (trotz einheitlicher Maße, Material und Anfertigung). Die Einschränkung brachte eine Art der Vielfalt hervor, die genaue vergleichende Beobachtung und das Herauslesen gestalterischer Themen erlaubte. In weiteren Aufgabenstellungen wurde vorsichtig die Figurenzahl erhöht, bis zuletzt nahezu alle Figuren der Gruppen in Gemeinschaftsaufgaben auf größeren Plattformen eingesetzt wurden (30 x 40 cm= 15 x 20 m Realgröße). An einem Abend wurden zu diesen Übungen alle Plattformen in einer Reihe so aufgestellt, dass sich der Eindruck einer geballten Menschenmenge auf einem Straßenzug ergab.

Erst nach der anfänglichen Erkundung der Raumwirkung der bloßen Figuren auf der Plattform wurde in weiteren Aufgaben das „Interagieren von Figuren mit Objekten“ bei methodisch angelegter Veränderung weniger Parameter beobachtet (veränderte Position oder Proportion der Objekte unter Beibehaltung der Stellung der Figuren etc.). Erst zuletzt wurden Szenerien zu „Inside, Outside, In-between“ thematisiert, die komplexer angelegt werden konnten (immer noch mit strikt einschränkenden Spielregeln).

Davon ausgehend wurde dann erprobt, ob der Erfahrungsbogen nun auch auf den ausgewählten Ort bezogen werden kann.

ORTE IM DORF UND FINALE PROJEKTE Der jeweils von den Gruppen ausgewählte Ort im Dorf war in Zwischenphasen wiederholt Gegenstand genauer Analyse: Vor Ort wurden die Bereiche zeichnerisch aufgenommen und in Schritten vermessen. Lagepläne, topografische Karten, Illustrationen, Pläne 76 | THINKING ABOUT RURAL AND LOCAL SPRIT

mari (30 × 40 cm = 15 × 20 m mărime reală). Într-o seară aceste platforme au fost așezate în linie una lângă cealaltă, pentru a se putea percepe impresia de mare mulțime care se deplasează pe o stradă. Numai după prima cercetare asupra efectului spațial al figurilor pe platformă au urmat temele în care a început observarea interacțiunii figurinelor cu obiectele, conform unei modificări metodice a câtorva parametri (poziție sau proporție modificată a obiectelor cu menținerea poziției figurinelor, etc.). Numai la urmă au fost adaptate temei „Inside, Outside, In-between“ și puteau deveni de-acum ceva mai complexe (dar tot cu reguli ale jocului foarte restrictive).

Apoi s-a analizat în ce măsură experiența creată poate fi extinsă la nivelul locului din sat ales.

LOCURI DIN SAT ȘI PROIECTE FINALE Locul din sat deja ales de fiecare grup de lucru a fost analizat în mod repetat în fazele de lucru intermediare: s-au întocmit desene, s-a măsurat locul cu pasul, s-au întocmit planuri de situație, hărți topografice, ilustrații și s-au făcut machete de lucru simple (cu sprijinul artistic desăvârşit al Mihaelei Șchiopu și al lui Ionel Iștoc). Pe această bază s-au desfășurat proiectele finale pentru fiecare astfel de loc din sat. La expoziție s-a prezentat, între altele, proiectul construirii unui drum care să lege cimitirul săsesc de cel ortodox; un proiect s-a ocupat de fostul bazin de înot de la fântâna cu apă sărată; o zonă de ședere și contemplare în preajma delimitării dintre curțile săsești și cele românești; un proiect de loc de joacă pe lângă biserica ortodoxă; un proiect cu o platformă de belvedere pe Sonnenberg/ Dealul Soarelui, de unde se pot privi turnurile bisericii fortificate.

und einfache Arbeitsmodelle wurden in der Folge angefertigt – mit wunderbar unkonventioneller künstlerischer Unterstützung von Mihaela Șchiopu und Ionel Iștoc. Auf dieser Basis wurden die finalen Projekte für die Orte entwickelt. In der Ausstellung wurde unter anderem die Gestaltung einer Wegeverbindung zwischen dem deutschen und dem orthodoxen Friedhof präsentiert; ein Projekt im Bereich des ehemaligen Schwimmbades beim Salzbrunnen; eine Sitzgelegenheit und ein „Blickrahmen“ im Bereich der Grenze zwischen den rumänischen und sachsendeutschen Höfen; ein Spielplatzprojekt im Bereich der orthodoxen Kirche; ein Projekt mit Aussichtsplattform auf dem Sonnenberg, das Bezug auf die Türme der Wehrkirche nimmt.

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2013 PROGRAMME IN SHORT 7th May–13th April

Day 1

7th April, Sunday 6:23 Arrival at Medias (Students NDU); 7:30 Walk at Sibiu; 8:00 Meeting with students of Brașov and Bucharest at Central Square Sibiu (Sankt Pölten, Brașov) + Hello and coffee; 10:00 ASTRA Museum; 10:30–11:00 – LECTURE 1 – open air lecture „VERANDA, PRISPA“ – Alin Olărescu makes an openair presentation about the porch (prispa) with a big drawing; 11:00 Mixing of the groups: 8 students from Sankt Pölten, 8 from Brașov, 5 from Bucharest (+ 2 BA diploma students/Sankt Pölten) 11:00–14:00 WORK 1 / VERANDA, PRISPA ...

IN-BETWEEN We give to every group one house with the veranda/prispa typology, choosen in a manner to get a huge panorama of this typology; Students are drawing, measuring, documenting on site.

14:00–15:30 Lunch break; 15:30–16:30 Presentation of the houses; 17:30 Leaving ASTRA Museum; 18:30 Arrival at Dealu Frumos and division of the rooms; 18:30–21:00 – WORK 2 LOOKING FOR GOOD PLACES IN THE VILLAGE: Every group gets a small village plan with prepared routes. Walk of the groups along the routes: visiting, describing and documentation of places. This act of choosing good places will be very important for the groups, as they will do their further „stage-sets“ for these places. The chosen places become relevant for WORK 6, beginning on Day 3. The groups will turn to these places later and will be able to do further observations and research. The decision for the places makes part of the content of the poster – see Day 2 WORK 3 (Discussion of the group identity with the prospect of starting Monday with this theme – poster of every group which invents group name and talks about their identity, and why did they choose which place in the village). 21:00 Dinner; 22:00 Welcome Party.

Day 2

8th April, Monday 08:30–09:00 Breakfast; 09:00–09:15 Presentation of the teachers; 09:15–13:00 – WORK 3 / POSTERS AND IDENTITY: Students are working on their posters, defining visual name and identity of their group. The poster contains also a visual expressed description and reflection of the chosen place in the village. They are working on cardboard ca. A 1. They can use any material they find. Presentation of the Posters (each group 10 min).

13:00–14:30 Lunch, dishes and siesta.

14:30–15:00 Finishing of the Posters; 15:00–15:30

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Presentation of the posters; 15:30–16:00 LECTURE 2 – Introduction of the workshop by Thomas Gronegger; 16:00– 19:00 – WORK 4 / FIGURES AND SPACE: Figures: We are working from the beginning and programmatically with little handmade proportional scale-figures. If we want to understand what is space, we can perceive this tension and character only by working with models and little proportional scale-figures.

Making Figures / 30-45 min Every Student prepares seven figures ca. 1:50 (= ca. 3,2–3,8 cm) with aluminium paper and needles. These figures should be coloured with black spray colour. Please work fast – this step not last more than 30 min. It’s enough to have simple figures.

Discovering Space by Posing Figures / 60 min Every group member is starting first with its own figures on a platform of ca. 15 cm × 20 cm) and tries to discover different constellations: How to pose a figure which is staying still; how to pose this figure in order to get the impression that it’s walking; put more figures on the base – try to understand what means “far away”, what means “near”, staying together, going away ...

Every student should take enough time to discover how space can be defined only by figures. What happens to the perception of space if the figures seem to move in the same or different directions or stay in distance or near together. Work out a choreography on the platform and make photos ... put then the figures of and create the next scenery.

Every student should prepare a well thought selection of 3 documentary photos of every choreography which expresses in a very clear and focussed way what he or she is interested in.

If every group is composed of 4 students every group owns about 28 figures, this is a nice amount of „stage personal“ to try to do different choreographies of people in a place.

Creating Stories by Choreographic Arrangements with many figures / each scenario 30 min The groups start to think about two simple scenarios and describe them with a few of words (for example: „the moment when many people are walking in a direction and something happens”).

Create these sceneries on two platforms of a free chosen form– possibly not much bigger than ca. 20 × 30 cm (10 × 15 m in real scale). 19:00–19:10 Short overview about the work; 19:10–19:30 Preparing dinner / cleaning of the working room; 19:30–20:30 – Dinner / dishes. After eight optional: Traditional dancing courses (Andrea D., Andreea C., Andra P.). Traditional songs in Romanian, Hungarian, Deutsch, English (Alin O., Andreea C., Andra P., Andrea D., Biborka B., Miriam F., Austrian Team).

Day 3 9

th

April, Tuesday

08:30–09:00 Breakfast, 09:15–10:00 LECTURE 3 “Defining a place in all the space–Space within a space” by Bíborka

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Bartha. 10:00–13:00 WORK 5 / FIGURES, ELEMENTS AND SPACE TG: Figures give elements measure, proportion and urban volume. Elements mark and define the space. The figures are seen in relation with the elements. Closeness, distance, height are defined in relation with elements which are higher than human size and introduce other layers of urban proportion. Elements build a stage set which not only changes the relation to the „actors“, but also between the „actors“ Relations / 75 min Every group creates a simple set up of some figures on a platform 30 × 40 cm (15 × 20 m in real scale). . The position of the figures is copied exactly on three other platforms–in order that every member of the group has exactly the same „set up“ to start the further work.

Every member of the group is modelling maximum five simple architectonic elements or volumes like walls, pillars, imposts, blocks. With these elements the group members try to create situations which interpret the relation between the „actors“– without changing their position.

First thoughts of „inside, outside, in-between“ can give the impulse for posing the „stage-set“ Every group tries to define very differentiated and meaningful interpretations of their stages.

One final arranged stage-set in three variations / 75 min Every group is reflecting on what they experienced and decide to go on with only one choosen thema which will be varied in three steps. The rule for the three variations is, that in each of these only one parameter can be changed (for example the highness of the elements, the thickness, or the position–never changing more than one parameter). Please write a short text–reflecting the thoughts of the basic set-up and reflecting the changes, step by step.

13:00–14:30 Lunch dishes and siesta; 14:30–16:30 Finishing the of WORK 5 and presentation; 16:30– 17:00 Inspiration walk to the group’s places; 17:00–19:00– WORK 6a / INSIDE OUTSIDE IN- BETWEEN / folding, cutting, up and down, first models only in paper and presentation tutorials: We did all these exercises for entering in the world of stagesetting. We tried to work slowly with figures and elements to get conscious of the different parameters which create the tension of space, proportion and dimension. Now we go on to focus on „inside outside in-between“. Stage sets on these themes can tell stories even if there are no actors – think about the Table of Silence (Brâncuși), think about entering an empty church or walking trough an amphitheatre. ... the presence of the absence or the absence of the presence can be incredibly dense ...

Looking at and entering these spaces one can feel the atmosphere

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they transmit, how they integrate us like figures in a scenography set, in the mood of this place. It’s not only us, that give live to the place, but also the place which enlivens us–... creating atmosphere, mood and spirit.

That’s it what we want to do with our scenographic places of „inside, outside in-between“.

We try to create places in the village which get somehow in relation with the spirit of their surrounding (near or far, visible or unvisible), by creating very differentiated situations of inside, outside in-between.

In this point the members of the groups are completely free to work on their own, or together, or in different constellations, or like a family with different tasks which are divided ... but the groups remain as heterogeneous collaborating unities.

19:00–19:10 Cleaning of places and preparation for review.

19:10–20:30 Preparing dinner; 20:30–21:00 Dinner / dishes; 21:00 Birthday party for Elisabeth Napetschnik.

Day 4

10th April, Wednesday 08:30–09:00 Breakfast; 09:15–11:00 Finishing of WORK 6a and short presentation; 11:00–11:15 Impulses by Thomas Gronegger – Land Art and Memorials of Bogdan Bogdanović; 11:15–13:00 WORK 6b / INSIDE OUTSIDE IN- BETWEEN, revisiting the places, documenting and reflecting atmosphere, tutorials: Please turn to your chosen place. Make sure that this is the place that you want and try to reconsider it’s characteristics.

Look and discuss on site first ideas. Look how big could the extension of your stage-set be, and of what shape could it be.

• Turn whenever you want and need to this place – also with your models and figures and sketch book.

• Try to fold every spaces you create by one folded piece of cardboard • Try to maintain the negative surface you get by cutting the folding pieces as interacting and „base-defining“ part • Try to percept and use the folding act as form-giving process which could give your stage-set different phases of appearance.

13:00–14:30 Lunch, dishes and siesta; 14:30–15:00 Presentation of WORK 6b; 15:00–16:45 WORK 6c / INSIDE OUTSIDE IN-BETWEEN: Group research on site – limits of the zone, measuring and topography, thinking about a collective idea with models and photo session on site, tutorials; 16:45–17:15 Short presentations of the research on site; 17:15–21:00 Finishing WORK 6c Elaboration of the site plans with topographic lines, sections; 21:00–22:00 Presentation of the site plans; 22:00 Dinner/ dishes and open end working night.

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Day 5

11th April, Thursday 08:30–09:30 Breakfast; 09:45– 10:15 LECTURE 5 – “Comparison of the traditional entrances in the household of Homorod & Vâlsan Valley” / by Andrea Deák. 10:15–12:30 WORK 6d / INSIDE OUTSIDE IN- BETWEEN: Finalizing projects: individual walk to the chosen places / with models and photo session on site. Impulses by Thomas Gronegger about Amphitheatres. 12:30–13:00 Intermediate presentation of WORK 6d.

13:00–14:30 Lunch, dishes and siesta; 14:30–18:30 WORK 6 / INSIDE OUTSIDE IN- BETWEEN Individual walk to the chosen places with models and photo session on site. 19:45–20:30–Intermediate presentation of WORK 6d; 20:30–21:00 Pizza Dinner in the working room.

Day 6

12th April, Friday 08:30–09:00 Breakfast; 9:30–13:00 Finalizing projects.

13:00–14:30 Lunch, dishes and siesta; 14:30–19:00 Finalizing projects; 19:00–20:30 Preparations for the exhibition, Fashion time and make up; 20:30 Exhibition opening and the party with Marina Cionca and Marius Marcu-Lapadat; 22:30–23:00 Presentation of „diploma work in process” of Elisabeth and Benedikt.

Day 7

13th April, Saturday 09:00- 10:00 Breakfast; 10:00–11:00 Luggage; 11:00–12:45 General cleaning of all spaces (work room, kitchen, bedrooms and bathrooms); 13:00–14:30 Lunch, dishes and siesta; 14:30 Departure students of Bucharest; 16:00 Departure students of St. Pölten / Dealu Frumos–Mediaș, departure Mediaș 18:02 (Train). Departure students of Braşov.

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PHOTO DOCUMENTATION 2013

On the road to Sibiu/Hermannstadt and visiting the ASTRA Museum. We gave a close look to the theme “Veranda, Prispa”, trying to analyse, to understand and to feel this “In-Between” space.

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Dealu Frumos: First visit of the village “looking for good places� (looking from the hill to the centre of Dealu Frumos, visiting former abandoned gypsy houses, up to the tower of the fortified church and view along the main road of the village)

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Warming up in the working space around the oven while making an introduction on how to prepare and work with the little scale figures and explanation of different exercises.

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Beginning with only two or three figures and creating a spatial tension and psychological dialogue between the single figures on a preprepared and proportioned platform.

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Further steps were, to create with more figures sceneries with thematic movements or directions (coming together, going away, here and there etc.). Finally all the thematic platforms were placed like a long road with lots of people walking along.

�Looking for good places� which could be positions for a sensible intervention, getting in a respectful dialogue with the existing environment. Analyzing the places by drawing and measuring by footsteps on site.

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Students prepare analytic–artistic maps and plans in collaboration with Mihaela Șchiopu and Ioan Muscu. The posters should explain the geographic or topographic situation, houses and streets, trees etc. and explain the qualities of the places.

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Hand-drawn introduction by Thomas Gronegger for further exercises with figures and objects. Sceneries related to the theme “inside, outside, in-between (always restricted by rules – for example ... objects folded by part of the base platform).

Further scenarios of figures which maintain exactly the position, but the environment is changing (columns, walls, etc.).

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Objects like stage set for figures related to the theme “Inside, outside, in-between”

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Working for the final project and presentation: intervention and dialogue with a place in the village, getting in sensible dialogue with the direct environment.

Exhibition at Bucharest UAUIM in July 2013 and meeting of Thomas Gronegger and family with Marius-Marcu Lapadat and Č˜erban Sturdza.

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Exhibition at Etnovember Festival Brașov 2013: Documentation of the workshops May 2013 and Bachelor work of Benedikt Dekan and Elisabeth Fellner in 2013. Walks trough Brașov and participation at the various festivities of the festival (music, theatre, traditional dances of the different ethnic communities of Brașov)

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Documentation of the Bachelor research at Dealu Frumos in January 2013 (measuring, photo-documentation, interviews)

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Bachelor Presentation of Elisabeth Fellner in 2013. Title: IN COMMON Creating a place for changing goods in the former Inn of Dealu Frumos and design of a “Memory Tower” for the inhabitants of the village nearby the church.

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Bachelor Thesis Presentation of Benedikt Dekan in 2013. Title: Re:source (from a village to a place of learning) Creating a work-shop zone for craftsmen in the former schoolyard of the “Volksschule”.

Construction of different barn-like workshops for ceramists, blacksmiths, and carpenters. Experiments with woven bee-houses and self-made bricks

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2014 DEALU FRUMOS / SCHÖNBERG 11th–17th May

INTERVENTIONS IN PUBLIC SPACES RURAL EVERYDAY AND FESTIVE PLACES

■ The mixed groups of 22 students: Bilek Marcel (NDU), Cîciu Roxana–Ioana (UTBv), Giorgi Giulliana (UAUIM), Hübner Diana (NDU), Brebeanu Ionelia (UTBv), Posawad Rallou (NDU), Ciucu (Bucuroaia) Andreea (UTBv), Macoveiu Alexandra (UAUIM), Scholz Marisa (NDU), Mincu Lavinia Carmen (UTBv), Decu Maria (UAUIM), Oswald Anna (NDU), Neagu Alexandru (UTBv), Diaconu Andrei (UAUIM), Schuran Marc (NDU), Şelaru Andrei–Laurenţiu (UTBv), Pușcășoiu Bianca (UAUIM), Frank Jakob (NDU), Rösler Thomas (NDU), Şeremet Elena (UTBv), Iordăchel Nicoleta (MA, UTBv) ■ Concept and Teaching: Univ.-Doz. Dr. Thomas Gronegger NDU, prof. dr. Marina Cionca UTBv, prof. dr. arch. Marius Marcu-Lapadat UAUIM, assist.prof. dr. Alin Olărescu UTBv ■ Teaching: assist.prof.dr. Ioan Muscu, dr.arch. Biborka Bartha UTBv, assist.prof.dr. Mihaela Șchiopu, lecturer dr. Ionel Iștoc UAUIM ■ Organisation: Antónia Czika; Administrator Centrul de Arhitectură Vernaculară Dealu Frumos: Marcel Nemeti UAUIM; Local friends and helpers: Alina Şamu and Martin Maurer.

IDEA & SPIRIT 2014

Dealu Frumos / Schönberg is a village integrated in a wonderful landscape in the centre of Romania. The living and working conditions in the village were exposed to extreme changes in the 20th century (wars, change of political and social systems, change of ethnographic proportions, change of property etc.). Still one feels the echoes in the streets along the axes of the Romanian and the former German community, in the secondary lanes and corners, around the fortified church, the empty „Volksschule“ the orthodox church, near the new and proud gypsy houses or their former houses which became ruins on the borders of the village.

Coming from outside it seems almost impossible to understand story and relations of the village in short time – every village has its own personality and character. Is the experience of everyday life in a specific place, seen from specific perspectives, dealing with specific human relations only possible by staying a long time on site? Some former BA students took some time to get to know better this place and made profound field-research – they will be with us and they will talk about and show parts of their experiences.

The experience of the last workshop has also shown that even if we have only a short time to see and to look – to try to understand, it’s possible to perceive in a sensible way what is the core or potential of strong places or situations. It is possible to think about the potential of little interventions in the body of the village and it is astonishing what kind of subtle ideas and projects can come up. This year we try to get even more in touch with the village.

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Demands: • Less looking for functional constellations which are arranged efficiently but more light and impulse on archaic spirit • Less strange supplements but getting more invisible visible integrated part of the place and it’s life • Less designed constructions and forms but more natural poetry–as if it was always there • Less complicate theatrical drama but more the simple multilayered profoundness of good stories • Less empty pathos and gesture but more empathizing with what you find.

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DE RO ZUSAMMENSCHAU 2014

PRIVIRE DE ANSAMBLU 2014

GRUPPEN Dieses Jahr bildeten wir nur drei, aber dafür relativ große Gruppen (6–7 Personen), in denen wieder jeweils Studierende aller Partneruniversitäten vertreten waren.

Die Intention war, mit diesen Gruppen je einen Ort auszuwählen und zu analysieren.

Die Mitglieder jeder einzelnen Gruppe sollten sich dann wiederum aufteilen, um sich einer der drei unterschiedlichen Einführungen in handwerklichgestalterische Themen zu widmen (siehe unten). Die Studierenden kehrten nach dieser gestalterischen Einführung wieder in ihre ursprünglichen Gruppen zurück, um bewusst unterschiedliche Erfahrungen in ihre Gruppe einzubringen und um für ihren gemeinsamen Ort eine Idee zu entwickeln sowie Entwürfe und Modelle anzufertigen.

GRUPELE În acest an am creat numai trei grupuri de lucru, relativ mari (6-7 persoane) în care ca și până acum se aflau studenți de la toate cele trei universități partenere. Intenția era ca fiecare grup de lucru să aleagă și să analizeze câte un loc din sat. Membrii fiecărui grup urmau apoi să se regrupeze pentru a se dedica unuia dintre cele trei moduri de abordare a temelor de creație și realizare practică (dupa cum se va vedea în continuare). După această regrupare temporară studenții s-au întors în grupele mari inițiale, în ideea de a aduce experiențe diferite și pentru a dezvolta pentru locul ales o anume idee și pentru a realiza propunerile de design și machetele.

Interventions in Public Spaces Rural Everyday and Festive Places

ARBEITEN MIT DEM DORF Das Arbeiten mit dem Dorf sollte dieses Jahr weiter intensiviert werden. Der Spaziergang durch das Dorf wurde so angelegt, dass Schlüsselstellen besonderer Qualität auf dem Weg lagen und sich die Gruppen anschließend rasch auf ihren Ort festlegen sollten, den sie gemeinsam intensiv bearbeiten. Es ging nicht mehr allein um das Anfertigen von Plänen und Karten, sondern um die zunehmend genaue Beobachtung des Geländes, der Beschaffenheit des Terrains, der Integration in das Wegenetz, in die Topografie, in die Ortschaft bzw. Landschaft. Dabei spielten auch die unterschiedlichen Blickachsen vom Ort weg oder die Perspektiven auf den Ort hin eine Rolle. Das Charakterisieren und Reflektieren des Ortes, seiner Atmosphären und Qualitäten waren besonders wichtig.

Intervenții în spații publice Locuri rurale cotidiene și festive

LUCRÂND CU SATUL Lucrul cu satul urma să fie intensificat în acest an. Plimbarea prin sat a fost în așa fel configurată încât locațiile cheie cu calități speciale să se regăsească pe traseu, iar grupurile să se poată stabiliza la locurile alese cât de repede posibil. Nu a mai fost vorba numai de a face relevee și hărți, ci mai ales de a observa teritoriul, forma și structura terenului, integrarea sa în rețeaua de drumuri, în topografie, în localitate și în peisaj. Aici au jucat un rol și traseele diferite ale privirii dinspre și respectiv către locul respectiv.

Caracterizarea și reflectarea locului, atmosfera și calitățile sale erau deosebit de importante.

PROCESE DE DESIGN ȘI REALIZARE PRACTICĂ – PUNCT DE REFERINȚĂ PENTRU PROIECTE După exercițiile de design foarte precis definite în 2013, care se ocupau cu fenomenele spațiale și punerea în scenă a micilor figuri umane în cadrul machetelor, de data aceasta

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HANDWERKLICH-GESTALTERISCHE PROZESSE ALS REFERENZPUNKT FÜR ENTWÜRFE Nach den sehr genau definierten gestalterischen Übungen 2013, die sich mit räumlichen Phänomenen und deren Inszenierung in Modellen mit Maßstabsfiguren auseinandergesetzt hatten, sollten diesmal handwerklichgestalterische Prozesse den Ausgangspunkt und Referenzpunkt der späteren Entwürfe für die ausgewählten Orte bilden. Hier konnten die Studierenden aus drei Themen wählen, in die gleichzeitig von verschiedenen Lehrenden eingeführt wurde (vgl. „PROGRAMME IN LONG“): • „Biegen und Falten von Flächen“ (Ioan Muscu) • „Subtraktives Hervorholen der Form aus dem Block“ (Thomas Gronegger) • sowie „Stufen und Ebenen als Raumübergänge“ (Alin Olărescu) „MAP OF THE AREA” UND KÜNSTLERISCHE UMSETZUNGEN Die Auseinandersetzung mit den Orten über die erwähnten Herangehensweisen fanden besonderen Niederschlag in den künstlerischen Umsetzungen der „Map of the Area“, die von Mihaela Șchiopu begeleitet wurde. Eine ganze Reihe wunderbarer Zeichnungen und Malereien zu den Orten waren ein überaschendes Ergebnis. Auch entstanden feine Modelle aus Naturmaterialien, die oft zusätzlich noch zeichnerisch dargestellt wurden.

PLACES OF …

Es wurde intensiv die Frage nach der spezifischen Qualität, dem spezifischen Charakter und der besonderen Atmosphäre der einzelnen Orte gestellt. Dazu wurde vorgeschlagen, die Orte mittels einer Beschreibung „Orte des …, Orte der …“ (Places of …) in ihrem Sein, ihrer Ausstrahlung oder ihrer Möglichkeit zu benennen: Orte des alltäglichen Austauschs und Zusammenkommens, Orte der Erinnerung, 106 | THINKING ABOUT RURAL AND LOCAL SPRIT

punctele de pornire și de referință pentru realizarea proiectelor destinate locurilor alese erau configurarea proceselor de design și construcție practică. Aici studenții puteau alege una dintre cele trei teme care erau prezentate simultan de către profesori (vezi PROGRAMME IN LONG): • Plierea ca tehnică de modelare structurală a suprafețelor plane (Ioan Muscu) • Metoda substracției pentru a obține forma dintr-un bloc (Thomas Gronegger) • Trepte și plane ca treceri dintre încăperi (Alin Olărescu) HARTA ZONEI ȘI REALIZĂRI ARTISTICE Analiza locurilor privitoare la modalitățile de acces a fost deosebit de utilă în realizarea artistică a hărții zonei/map of the area, care a fost coordonată de către Mihaela Șchiopu.

Seria mare de desene admirabile și picturi ale locurilor respective a constituit un rezultat uimitor şi benefic. De asemenea au rezultat machete frumoase din materiale naturale, care de multe ori erau reprezentate și în desen.

PLACES OF …

S-a pus deseori întrebarea despre calitatea specifică, trăsătura specifică și atmosfera specială a fiecărui loc. Apoi s-a propus ca locurile alese să fie denumite ca „locuri de, locuri pentru“ (Places of), pentru a li se defini farmecul sau potențialul: Locuri ale interacțiunilor zilnice și de adunare, locuri ale amintirii, ale istoriei, ale identității, locuri din intersecții, locuri ale gândirii, contemplării, locuri ale venirii și plecării, locuri ale sărbătorii, locuri pustii, locuri ale comunicării, locuri ale întâlnirii, ale șederii, ale statului în picioare, ale mersului... etc.

Această chestionare asupra “ființei” unui loc, asupra farmecului și potențialului său exprimă o modalitate de gândire mult mai deschisă decât întrebarea despre funcțiunile existente sau dorite. “Funcția” se referă la un scop cert, definit. Legătura cauzală dintre necesități și funcțiuni definite se dezvoltă organic, exact acolo unde are loc o discuție

der Geschichte, der Identität, Orte sich kreuzender Wege, Orte des Nachdenkens, Orte der Beschaulichkeit, Orte des Kommens und Gehens, Orte der Festlichkeit, Orte der Brache, Orte der Mitteilung, Orte des Treffens, des Sitzens, Stehens oder Gehens etc.

Dieses Fragen nach dem „Sein“ eines Ortes, seiner Ausstrahlung, seiner Möglichkeit eröffnet ein weit offeneres Nachdenken als die Frage nach der bestehenden oder gewünschten Funktion.

Die „Funktion“ bezieht sich auf eine bestimmte, definierte Aufgabe. Der kausale Zusammenhang zwischen definierten Bedürfnissen und Funktionen funktioniert aber genau da, wo ein freies und offenes Gegenübertreten von Dorfbewohnern zu Interventionen im öffentlichen Raum stattfindet – nicht nach Mustern simpler argumentativer Logik. Weiche Faktoren, wie die Atmosphäre, die Schönheit, die Attraktion, die Poesie, die Ambivalenz und Vielschichtigkeit, lassen sich nicht über einfache funktionelle Kausalitäten inspirieren!

EINKAUFEN, VORBEREITEN, KOCHEN UND „AFTER EIGHT“ Das Einkaufen, Vorbereiten und Kochen des Abendessens sowie die Zubereitung des Frühstücks wurde wieder von Alin Olărescu geleitet. Zum Kochen fanden sich um einen festen Kern von Studierenden aus Brașov wechselnde Helferinnen und Helfer ein.

Zum Ort der Küche und des Essens wurde ein zweigeteilter Raum im Erdgeschoß der ehemaligen Volksschule umfunktioniert.

Mit minimaler Ausstattung (ein alter Gasherd und ein normales Waschbecken) wurden täglich Abendessen für 30 Personen vorbereitet. Die Mittagsmahlzeiten wurden in guter einfacher Qualität, aber auch in vielen Styroporgefäßen geliefert (beide Essen selbst anzufertigen, wäre zu viel gewesen). Das frisch am Markt von Agnita gekaufte Gemüse wurde in einem kühlen Zwischenraum gelagert. Ein Kühlschrank stand zur Verfügung. Die Küche wurde

liberă și deschisă a locuitorilor satului legată de intervențiile în spațiul public, nu după modele ale logicii simple. Factori „soft” precum atmosfera, frumusețea, atractivitatea, poezia, ambivalența și complexitatea nu se lasă inspirate de simple cauzalități funcționale.

CUMPĂRĂTURI, PREGĂTIRI, GĂTIT ȘI „AFTER EIGHT” Cumpărarea, pregătirea mesei și gătitul cinei precum și pregătirea micului dejun a fost iar coordonată de Alin Olărescu. Pentru pregătirea mesei s-a găsit un un nucleu stabil de studenți brașoveni, ajutați de feluriți voluntari.

Pentru locul de luat masa s-a convertit un spațiu divizat în două zone, al fostei școli evanghelice. Cu minimă echipare (un aragaz vechi – donat de către Alexandru Neagu (UTBv) – și o chiuvetă uzuală) s-a pregătit zilnic cina pentru 30 de persoane. Masa simplă de prânz era adusă zilnic – cu precizie de ceasornicar – de către domnul Aurel Bârsan, de la restaurantul La Prut din Agnita, a fost de bună calitate (ar fi fost prea dificil să ne facem singuri și mâncarea de prânz) şi era pusă în caserole, cam masive, din plastic. Legumele proaspete cumpărate din piața din Agnita erau depozitate într-un spațiu răcoros. Exista și un frigider. Bucătăria a devenit un loc magic.

Pe funduri simple de lemn, în castroane de plastic și în oale mari se preparau bucatele. În “PROGRAMME IN LONG” mâncarea, cu rețetele originale și programele de seară sunt apreciate cum se cuvine. Șederea uzuală împreună de după masa de seară s-a înviorat brusc când schimbul ironic de cuvinte peste masă dintre Roxana Cîciu și Alin Olărescu s-a transformat într-un spectacol solo comic al Roxanei, o “stand-up comedy” care a ținut mai bine de două ore și a distrat toată suflarea studențească. Alte activități de seară au fost dedicate textelor și poeziilor despre viața la țară (duminică) și unei „folk singing night" (luni). Joi după masa de seară am instituit o “open work night”.

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zum magischen Ort. Auf einfachen Schneidbrettern, in Plastikschüsseln und großen Töpfen wurden die Speisen zubereitet. Im „PROGRAMME IN LONG“ wird das Essen mit den originalen Rezepten und das Abendprogramm ausführlich gewürdigt. Das übliche Zusammensitzen nach dem Abendessen kippte am Mittwoch über einen spottenden Wortwechsel zwischen Roxana Cîciu und Alin Olărescu über die Tische hinweg zunehmend in eine improvisierte Solovorstellung von Roxana, die den gesamten Tisch über mehr als zwei Stunden in Bann hielt. Weitere Abendgestaltungen haben sich Texten und Poesie zum ländlichen Leben gewidmet (Sonntag) und einer „Folk Singing Night“ (Montag). Am Donnerstag setzten wir nach dem Abendessen eine „Open work night“.

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2014 PROGRAMME IN LONG 11th May–17th May 2014

Day 1

11th May, Sunday 10:22 Arrival at Mediaș (students of Sankt Pölten), transfer by microbus to Dealu Frumos; 11:30 Meeting at Dealu Frumos (NDU, UTBv, UAUIM) + Hello and coffee; 12:00 Student’s are taking the rooms; Teachers are preparing the lunch.

13:00–14:00 Lunch, dishes and siesta; 14:00–14:10 BOOK OF RULES – about what we should pay attention; 14:10–14:25 Mixing of groups: 3 groups with 7-8 persons; 14:25–45 SHORT INTRODUCTION: How is the workshop structured, little spots on important things and thoughts / Thomas Gronegger; 14:30–17:30–WALK IN THE VILLAGE: Each group should have a look for good potential places in the village and chooses a place through the sensorial and metaphisical approach, based on their personal perspective, feelings, poetic perception, etc.). Describing and first documentation of possible places. The groups get small village plans with suggestions of routes. During the walk discussion about the group identity, groups name and talks about possible approaches; 17:30–18:00 Meeting in the Main Hall, discussion and tea-time; 18:00–19:30 WORK 1 / POSTERS AND IDENTITY: Starting to work on posters – symbol or logo representing groups identity and name; 19:00–20:00 Dinner and PRESENTATION OF THE TEACHERS; 20:00–21:00 – Work 1 / POSTERS AND IDENTITY: Working on the poster a very open atmosphere and music and sliding over in the Welcome Party: Discussion with Alin about texts and poems selected of the Romanian students regarding rural life, selected poems which reflect rural childhood Fiecare venim dintr-un sat – Unii direct, alţii trecând prin părinţi, Unii direct, purtători de eresuri şi basme, Fericiţii putând să se-ntoarcă oricând.

Ana Blandiana, Dintr-un sat, 1966*

Copilo, pune-ți mânile pe genunchii mei.

Eu cred că veșnicia s-a născut la sat.

Aici orice gând e mai încet, și inima-ti zvâcneste mai rar, ca și cum nu ţi-ar bate în piept, ci adânc în pământ undeva.

Aici se vindecă setea de mântuire și dacă ți-ai sângerat picioarele te așezi pe un podmol de lut.

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Uite, e seară.

Sufletul satului fâlfâie pe lângă noi, ca un miros sfios de iarbă tăiată, ca o cădere de fum din streşini de paie, ca un joc de iezi pe morminte înalte.

Lucian Blaga, Sufletul satului, 1924** *Ana Blandiana (25 March 1942, Timişoara) is a representative figure for the Romanian modern poetry. She wrote about many personal life experiences, including rural themes, like in this poem where she refers to her roots, parents and her happy childhood in the village of rural fairytale. **Lucian Blaga (9 May 1895, Lancrăm, Sibiu – 6 May 1961, Cluj-Napoca) was a Romanian poet and philosopher. Five students chose independently this poem because: it reminded them of their grandparents; the silence of the village; the slow rhythm of the village; the specific smells and sounds.

Day 2 12

th

May, Monday

07:15- 08:30 PREPARING BREAKFAST / Cooking team: Alin, Elena, Neli, Andreea; 08:30–09:00 Breakfast; 09:15–13:00 WORK 1 / POSTERS AND IDENTITY: Students are working on their posters and finishing them; 13:00–14:30 – Lunch, dishes and siesta; 14:30–16:30 Work 2 / DESIGN METHODS AND TECHNIQUES– INTRODUCTION/ Ioan Muscu, Alin Olărescu , Thomas Gronegger: The original groups have been randomly divided in such manner that they could take part in three different crafting seminars. These seminars are working with cardboard, wood and plaster. After the seminars (ca. one and a half day) the students turn in their original groups and work on the final project on base of these three different crafting competences; 14:30–14:45 INTRODUCTION LECTURE: About the dialog between crafts, form and material / Thomas Gronegger; 14:45–17:00 Each teacher introduces in his subject with a short lecture about design methods with different materials. This is a kind of research for possible objects, forms, forming methods, which could be used for the project: a) FOLDING WITH CARDBOARD: Introduction and exercises with Ioan Muscu: Alexandru Neagu UTBv, Anna Oswald NDU, Maria Decu UAUIM, Giuliana Giorgi UAUIM, Lavinia Mincu UTBv, Ionelia Brebeanu UTBv, Elena Șeremet UTBv Understanding the targeted/possible/definable/expressed space, as a space with a certain personality and specificity derived from notions like: archaic, rural, multiethnic, regional, provincial, etc. but which can be transfigured through visions and expressions of that which can be: On this side or beyond the main road or the lane; On this side or beyond the domestic enclosure; On this side or beyond the enclosure of spaces inside the courtyard space; On this side or beyond the walls of the house; On this side or beyond the agricultural lands or pastures; On this side or beyond the built perimeter; On this side or beyond the

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market place, the halting place, the sacred place, the playground, the resting space, the feasting place; On this side or beyond the source, the river, the vegetable garden, the vacant land, the pasture or the precipice; Around or inside the church, the communal hall, the school, the house of culture.

Each of these or other randomly discovered spaces can be lived or felt in their specific spirit or in the spirit of our reverberations which can be: emotional-sensitive; intuitive-rational; at human scale or beyond it; on one, two or three directions; in accordance or discordance with nature or the natural context; in accordance or discordance with certain rules, practices, dogmas, customs, traditions; in accordance or discordance with necessities, possibilities, desires, aspirations.

Working materials and modeling techniques: In order to increase the experimental and creative possibilities from the Work Program, I propose to use, besides cardboard and/or paper, also thin wooden sticks, and sometimes even string or cord and wire. This proposal does not mean to give up the folding and configuration of forms and volumes of paper and cardboard. This way we have the possibility to define a constructive language where the plane and volume can be combined with the linear element defined as side, edge, pillar, thrust etc. The linear elements can be easily combined with the cardboard surface or with plaster, in structural and textural compositions which have a high plastic-expressive value. The proposed material can be easily cut and glued. b) WOODEN PLANES AND STAIRS: Introduction and exercises with Alin Olărescu: Andreea Ciucu UTBv, Diana Pușcășoiu UAUIM, Jakob Frank NDU, Andrei Șelaru UTBv, Marc Schuran NDU, Thomas Rösler NDU. The stairs and the door step represent the true expression of passing space: From a world into the next world; From a dimension to an other (time, space etc.); From a personal/sensorial/emotional perception to another (bad/good, cold/warm, rest/wakefulness, enjoy/sadness etc.).

The passing is perceived differently depending on the reference plan, but, as a rule, into a single direction: In the physical/ tangible plan – the perception is from outside to inside: outside/ inside; up/down (most ladders are designed to be loaded and not to be lowered; the more doors/gates are made t​​ o facilitate or hinder access inside not out); Spiritual perception is reversed, from the inside to outside – from my (heart, soul, or brain) – trough others. In the collective mind/mentality, the scale is usually perceived unidirectional in the sense of climb and not that of the descent. The stairs are used into few powerful semantic constructions as a symbol of irreversibility: „ Stairway to Heaven „ – religiously believed in all good works, accompanied by prayer this ladder to heaven is created and the soul of the believer will climb on it at the time of judgment; the physical,

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tangible Stairway to Heaven is the expression of human impossibility; „Ladder of life“ – is the passage of time and becoming impassive human (childhood, youth, manhood, oldness); The area of the stairs can be seen as playing significant roles: heightening or lowering; bringing near or moving away; integration or loss; invitation or refusal; ceremonial space or welcoming space. Thus it gives hierarchy, confers precise directionality, creates routes, and offers a variety of sensations to the person involved, like crushing, suffocating, lightness, constraint, autonomy. Stairs may be dually perceived, as access elements or as elements that hinder or restrict the access. Both the scale and the threshold can be perceived dually as access elements or elements that impede access, limiting one. The stairs have not much parameters of form – the height of each step, the profoundness of each step, the inclination of the entire staircase and the inclination of the single steps, the largeness of the staircase and the form of the steps in section and seen from above.

Steps for building-up simple stairs: Find the right inclination; Measurement of maximal height; Divide o maximal height into equal segments; Transpose the signs (corresponding to equal segments) on the lateral parts of stairs; Start making the connections.

Ways for investigation: Inclination of the single steps; Profoundness of the single steps; Compare the height of steps with existing – what kind of walking is it when go up and also when go down (Investigation in the fortified church of Dealu Frumos) What can you do on the stairs: To walk up or down or along; To sit down; To lie down and sleep; And ask a skateboarder!!!

Some archaic, historic and present examples: Antique Arena; Stairs integrated in the landscape; Stairs integrated in rural villages, buildings; Stairs as part of places (piazza); Theatrical stairs (Biblioteca Laurenziana, baroque like Piazza di Spagna/Rome …); Stairs in vernacular buildings Which elements could be part of a stairs: Banister; Handrail; Balustrades; Ramp; Candelabrum etc.

Morphologic types of stairs: Single ramp; Spiral staircase etc.

What happened if: Working with different inclination? Change the inclination of steps (into limit of ergonomic situation)? Find another position of steps?

Try to create various scenarios for the purpose of stair. Design the elements according to this in relation with human figure. The stairs are the space of multiple activities. Try to define these activities and design the stairs (the shape of elements, composition etc.) for these activities. For all of this do not forget about the relation between human figure and the space of stair.

Keep our design into a scenario and investigate the situation through the sensorial, poetic and live manner.

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c) Subtractive forming with plaster / introduction exercises with Thomas Gronegger: Bilek Marcel NDU, Posawad Rallou NDU, Alexandra Macoveiu UAUIM, Marisa Scholz NDU, Diana Hübner NDU, Andrei Diaconu UAUIM, Roxana Cîciu UTBv Two different themes and approaches of working in a subtractive manner with plaster were introduced to the students. Within the different approaches we tried to find for every student individual ways to create their own experiences. Our goal was to elaborate two ways of methodic approach, each of these having a possible heterogeneous outcome.

Research I Subtractive transformation of cubes and cuboids: Cubes and Cuboids are prepared with plaster in negative casts. Once the plaster has hardened, we drew geometric regular joint lines on the sides which were then connected through the cube-edges with one and another. First it is important to elaborate the expected form in perspective drawings. In the beginning it’s very simple to apply geometric lines on an isometric drawn cube and then to „cut“out the form by chisel. But the more complex the geometric shape gets, the translation in a perspective sketch can get very difficult.

During the crafting process the drawings became incredibly important, as there was a big difference between the drawn object and the sculptured one. The drawn object shows always the initial cube and the inner shape of the new form as a transparent nucleus. But the cube, which is sculptured, is not transparent and the cuts can be done only path by path. So one loses the overview easily. And if the forms become more complex it is almost impossible to work without drawing in parallel, which offers the overview.

A very important experience is that the process of liberating the geometric form creates many intermediate steps, which can be more interesting than the final object. This means that even if there is a strict geometric method to arrive at the final object – we are enabled on the way to observe a substantial plenty of experiences of spatial thinking. Also it is important to hold on and to look at the intermediate phases and their plastic and spatial quality. There is a need to take a rest and to pull the object out of the working context. It’s good to look at it from various points of view, with different light etc. Finally the various steps should be documented through photos.

Research II As second approach some of the students tried to translate „elastic“ spatial movements into a rigid geometric system – for example a braid, a knot or a backstrap. Also here we began with drawing, to find out ways how to reduce elastic round movements into rigid orthogonal or diagonal sections. We were drawing long transparent cuboids, dividing them in longitudinal and cross-

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sections. With this preparation we started to try to translate spatial movements section from section and we found some very interesting solutions, which are partly similar to traditional ornamented beams of vernacular houses. The difference is, that we didn’t use a kind of formula or pre-prepared model for cutting ornaments – but we went to the nucleus of a spatial idea – for example „braiding“ and were translating this in geometric movements. This means also that we are directly at the source of form and it is easy to create variations and modifications.

17:00–20:00 Work 2 DESIGN METHODS AND TECHNIQUES / Ioan Muscu, Alin Olărescu, Thomas Gronegger. Design methods with different materials; 18:30–20:30 – Preparing dinner / Cooking Team: Alin, Elena, Andreea, Bibi, Roxana, Thomas, Lavinia Transylvanian Boeuf Salad Quantities: 5 kg potatoes; 2,5 kg carrots; 4 jars of 800 g pickles; 3 jars of 800 g pickled paprika; 2 jars of 800 g peas; Preparation: The unpeeled potatoes and carrots are boiled in two pots. After they have boiled enough, they are peeled and after that cut into 0,5 x 0,5 cm cubes. The pickles and pickled paprika are cut into fine cubes. After that all are mixed together with peas.

Mayonnaise Quantities: 4 boiled egg yolks; 6 crude egg yolks; 2 spoons of mustard; 1 l oil. Preparation: It is better to divide into two parts the quantities and to prepare in two pots! The boiled egg yolks are mixed together with the crude egg yolks and the mustard and then we drip oil and mix till we have the reasonable quantity of mayonnaise! Bon appetit!

20:30–21:30 Dinner / dishes After eight (nine) – Traditional Folk Singing Night: Traditional songs in Romanian, Hungarian, German: Alin sang Romanian folk songs, in a traditional old manner; Bibi sang folk songs that she has learned from her grandmother, in Hungarian; Thomas sang a Bavarian folk song; The Austrian team sang together “Austropop”; Together the Romanian (Brașov and Bucharest) team started singing. All songs were inspired by everyday/ Romanian folk song:

Hungarian folk song:

Bavarian folk song:

Cine e plugar curat, Muncitor adevărat, El nu doarme noaptea-n sat Ci doarme numai la plug Cu boii înjugaţi la jug.

Vino Ioane de la plug Că-mi arde ia pe trup!

Poţi să mi te-aprinzi cu totul, Nu viu pân` n-oi ara locul!

Să ar locul, să-l brăzdez, Şi-apoi vin să te iubesc, Că-mi vine să-nebunesc!

Erdő erdő erdő, Marosszéki kerek erdő Madár lakik abban, madár lakik tizenkettő Cukrot adnék annak a madárnak Csárdás kisangyalom, Érted fáj a szívem nagyon!

Drunt in da greana Au staeht a Birnbam schee blau, drunt in da greana Au staeht a Birnbam schee blau – juhee Woos is do an dem Bam, ... a wundascheens Eial ...

Eial im Nestal, Nestal am Zweigal, Zweigal am Astal, Astal am Ast, Ast am Bam, Bam in da Au ...

Drunt in da greana Au staeht a Birnbam schee blau ...

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festive village life, activities, realities and myths.

The Romanian song recounts, in a somewhat playful and erotic manner the archaic myth of the ploughman. The myth pronounces the importance of keeping a sound body and soul/mind during spring agricultural works as: ploughing and sowing; if the body and soul is not sound the harvest can be damaged, the community could remain without the main food source. In the archaic communities the songs represent a useful and frequent method of keeping tradition through memory retention and recall of myths and practices that accompany it. This song is structured in three parts: the statement, temptation and response to temptation.

In the statement, we have powerful phrases: “Cine e plugar curat, (Who’s a clean tiller) / Muncitor adevărat (And a true worker)“ which gives us the true dimension and the right measure: “El nu doarme noaptea-n sat (He doesn’t sleep in the village) / Ci doarme numai la plug (But sleeps in the field) / Cu boii înjugaţi la jug (With the oxen trekked to the yoke)”.

The words true/adevărat and sound/curat offer a fundamental weight to the text, there are two strong elements. Once, in this part, we are given the reference of value (to keep sound throughout the plowing) and the way in which you can achieve the goal (by sleeping in the fields with the oxen trekked to the yoke) – so awake, alert, to avoid the temptations offered by the village, or the marital bed.

Temptation is brought impetuously, fast and focused in only two verses: „Vino Ioane de la plug (Come Ioane from the plough) / Că-mi arde ia pe trup! (My shirt is burning on my flesh!)“. In these two verses we see the woman’s tremor of desire, with the aim of tempting the man at any price. Nothing could be more enticing for a true man (as described above) than the prayer of a woman comprised of passion and desire, which recognizes that her body has been ignited by desire and prays for a man to satisfy her desire.

The answer comes somewhat diplomatic: In the first part the refusal looks categorical and dramatic„ Poţi să mi te-aprinzi cu totul (You can be light up entirely) / Nu viu pân` n-oi ara locul! (I am not coming until I plow the field)“, but in the same time we can sense it as a way of enhancing the passion of the woman: „You can light up for me entirely!“ In the second part, the solution is given: after the place is ploughed and ploughed, the man will come to love her („Să ar locul, să-l brăzdez, / Şi-apoi vin să te iubesc“) – now the canon is permissive and the harvest is not jeopardized.

In the last verse, the farmer recognizes the enormous struggle „Că-mi vine să-nebunesc! (I am going mad!)“ which can lead almost to madness. This inner struggle is very hard and is being backed up by the physical work, staying

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awake during the night and the constant insistence and desire of the women and all together can lead to madness (in traditional communities the madness caused by sexual abstinence is recognized, for both men and women, ... but this is another theme which is treated through other songs and interpretation ...!)

The Hungarian folk song is about the forest and its birds.

Symbols of Hungarian tradition: bird, angel, river. It is a love song, where the loved person is seen as an angel of the forest. Bavarian song without erotic content: depends on interpretation.

We have finished singing at one o’clock, in the little smoky kitchen.

Day 3 13

th

May, Tuesday

07:15–08:30 – Preparing Breakfast / Cooking team: Alin, Elena, Thomas, Andreea, Lavinia, Neli 08:30- 09:00 – Breakfast; 09:15–11:00 INTRODUCTION LECTURE – “Places of...” discussions about how to work on site. The program and collaboration in the workshop tries to sensitize for perception and awareness of rural places and to stimulate to think about their potential. While looking for good places we can trust on our intuition. The reflection can hold on and describe subjective impressions, feelings, perceptions. But we should also attempt to see the objective part of what we found. We’ll try to walk along both paths (objective and subjective approaches) in different units, changing weaving them with our crafts and design research.

11:00–13:00 – Work 3 WORKING ON SITE... WITH THE PLACES We found our place it’s good to stay here for a while, it is good to go around, to look around, to look away to leave the place on different ways to look back to the place from far, from here and from there to approach the place on different ways ... contemplative, peaceful and tranquil 13:00–14:30 – Lunch, dishes and siesta; 14:30–17:30 – Work 3 / WORKING ON SITE-MAP OF THE AREA How are these places composed, how are they constituted?

Are these places clearly defined and by what?

How is the nature of the terrain-meadow, lawn, wood, stone?

Have these places different zones: zones of transition, zones of entrance,...?

Have these places borders or what could be the borders?

How are these places integrated in the topography of the landscape?

How are these places integrated in the net of paths or streets and houses of the village?

Are there axes of views, axes of streets, axes of inner relations/ connections (what with what?)...

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- It is good to mark within the sketches the distinct areas?

- It is also good to walk within the area to the single distinct places - It is good to get aware of the different views to – and from the distinct places in the area - It is good to do some very good photos - It is important to have a look on the characterization of our list „places of ...“ and to compare it with the place - It is good to measure in passes the area and parts of the area - It is good to reflect what are the characteristics, the atmosphere, the particularity of these places and to take notes or to write them on the sketches.

- It is good to reflect how these places are integrated in the village, what are the relations to other important places in the villages 17:30–18:30 – LECTURE AND SLIDE SHOW about Bogdan Bogdanović, Thomas Gronegger.

Bogdan Bogdanović is a Serbian architect, drawer and literate, born on 20 of August 1922 in Belgrade and died on the 18th of June 2010 in Vienna. He created in all parts of the former Yugoslavia memorials and necropolis for victims of fascism and militarism.

From 1951 to 1980, Bogdanović built above 20 places of memory.

His first commission was at the age of 29 years, a memorial on the Sephardic cemetery of Belgrade. This was the first time he was working intensively with stone.

• Jasenovac / Croatia 1959–66 Memorial fort he victims of KZ A Flower for the victims / Serbs, Roma, Jews, Croats Near to the river Sawa – border between Croatia and Bosnia. „I knew that I won’t find or search inspiration in the evil“; „I never was looking for symbols. They, as strange as it may sound – they were looking for me. There is no linear process of design. It is a kind of continuous encircling of the theme“. (BB) • Krusevac / Serbia 1960–65 Necropolis with Arena • Leskovac / Serbia 1964-71 Memorial of the Revolution • Knjazevac / Serbia 1969–71 Memorial for the victims of the liberation wars • Bihac / Bosnia-Herzegovina 1969-81 Cenotaphs in the memorial parc • Berane / Montenegro 1972–77 Memorial of liberty • Vlasotinice / Serbia 1973–75 Memorial for the • Vukovar / Croatia 1978–80 Memorial park fort he victims of fascism 18:30–20:30 – Preparing dinner / cooking team: Alin, Elena, Andreea, Lavinia, Bianca, Thomas Potato with cheese: Quantities: 7 kg potatoes; 2,5 kg cheese; 200 g butter; 100 ml oil; Fresh Tarragon (a good bunch – 7 cm in diameter and 40 cm in length) Preparation: The potatoes were peeled and washed, chopped up in 3x3 cm cubes and boiled with tarragon (a good bunch) and 100 ml of oil, placed into a 10 l pot. The cheese was cut into

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1x1 cm cubes. Observation: Only if the cheese has the right composition and consistency. When the potatoes have boiled enough (not too much!) they are mixed, in layers with the cheese and butter and after that they must be covered, with a wooden plate, for 10–15 minutes.

The salad was composed of three, separated, components: Red beet (3 jar of 800 g); Cauliflower (3 jar of 800 g); Fresh salad from green spices: 1 bunch of Parsley, 2 bunches of Dill, 1 bunch of Lovage; all the spices were finely cut and mixed together.

Note: All quantities are for 30 persons! Bon appetit!

20:30–21:30–Dinner / dishes; After eight: Little space for thoughts and discussion accompanying the workshop

Day 4

14th May, Wednesday 07:15–08:30 – Preparing Breakfast / Cooking team: Alin, Elena, Thomas, Andreea, Bianca, Ionel 08:30- 09:00 – Breakfast; 9:15–13:00 – Work 2 / DESIGN METHODS AND TECNIQUES Design methods: creating sceneries with the objects and little scale figures of aluminum paper, photo session with different situations of light, positions and proportion.

13:00–14:30 – Lunch, dishes and siesta; 14:30–15:30 – Work 2 / DESIGN METHODS AND TECHNIQUES: Finishing with the models; 16:30–21:00 – Work 3 / WORKING ON SITE-MAP OF THE AREA: Finishing the site plans and combining them with comments, sketches and diagrams.

POSTER OF PLACES IN THE VILLAGE OR LANDSCAPE: The poster collects documentations of objective and subjective approaches of every group. The poster should consist of a large scale plan (based on measurement by steps) of the area, delimitating the place and integrating it in the larger context of the village or landscape (axes and important points of reference, ...) or there could be two drawings – one with the delimited area of interest and one in a larger scale which shows the integration in the context of the village/landscape. The drawings should show and give a good overview. They are not precise urban plans. So it is nice to overlap them with written notes. There should be sections, showing the topographic situation. You can use your prefered drawing or painting techniques. You could try to integrate texts, drawings, sketches, collected pieces, etc. The plan could become a graphic interpretation (coloured division in zones, symbols, diagrams, etc.). The poster shouldn’t become a dry urban plan, but trying somehow to integrate in an artistic manner all these very different approaches of objective and subjective examination.

Although it asks certain defined parts (plan, sections, etc.) there is enough space for artistic and calligraphic interpretation which integrates those parts which need specific expression. As the

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groups will be relatively large, the poster can become really very big (3–4m long) or can be divided in different parts.

21:30–22:00 – Dinner / Cooking team: Alin, Elena, Andreea, Nico, Bianca, Roxana: Pasta boiled with green condiments, mixed with cheese, salad and smoked bacon with porkscrap Quantities: 2,5 kg pasta; 3 kg cheese; 200 g butter; 100 ml oil; Fresh Tarragon (a good bunch – 7 cm in diameter and 40 cm in length); 1 sachet of basil; 2 sachet of oregano; 2 spoons of pepper grains; 1 spoon of pepper powder; 2 spoons of mustard grains; 10 laurel leaves; 2 knobs of garlic; Preparation: A 10 l pot filled with water and put all the spices and oil. When the water is boiled put inside the pasta – (half and half – not all the pasta at the same time!). At the second turn for the boiling pasta extra oil has to be added! The cheese was kneaded and mixed with garlic.

When the pasta is right boiled (not too much!) they are mixed, with the cheese and butter and after that they must be covered, with a wooden plate. After the second turn of pasta all the composition must covered for 10–15 minutes.

The salad: 3 kg Tomatoes; 1 sachet of basil; ½ knob of garlic; 100 ml oil. The tomatoes will be chopped in roundels and mixed with basil, garlic and oil. The smoked bacon and pork-scraps: 1 kg smoked bacon; 1 kg pork-scraps; The smoked bacon is cut into medium pieces 5 x 3 x 0, 4 cm and browned with pork–scraps. It is served warmish!

Note: All quantities are for 30 persons! Bon appetit!

After eight (ten) – optional Roxana Night. The whole team gathers in the kitchen for small discussions and lots of jokes performed by Roxana, our stand-up comedy artist. This meant two hours of continuous laughing eating and drinking, the perfect ingredients for a wonderful night after a good day’s work.

Day 5

15th May, Thursday 07:15–08:30 – Preparing Breakfast / Cooking team: Alin, Elena, Thomas, Andreea; 08:30–09:30 – Breakfast; 09:45– 11:00 – Preparing for presentation of Work 3; 11:00–13:00 – Discussion of the plans, ideas and visions for the final work; 13:00–14:30 – Lunch, dishes and siesta; 14:30–19:45 – Work 4 / FINAL PROJECT – POETIC INTERVENTIONS IN THE VILLAGE: Introduction by Thomas Gronegger. About drawings, models, plans. We are not only dealing about what and how are the choosen places, what is their character and spirit, but also what could these places become.

The question „what could these places become“ should be based and developed on their inner potential and spirit.

We are working in a very sensible context. Even if we try to

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understand the story and the stories of the place, we will not be able to understand profoundly the inner relations and complexe situation of the inhabitants in this village within short time.

Although beeing aware of our limits (of time for research and knowing the people) there are ways to act and to react and to create in a sensible manner without getting superficial. We can have the courage to do proposals and to think about what could be nice and senseful for the choosen places in the village: 17:00 Arrival of the Rector of the University of Architecture and Town Planning Ion Mincu, Bucharest, Professor Arch.

Emil Barbu Popescu. Thomas Gronegger is showing around and explaining the works to Mr. Rector. Professor Emil Barbu Popescu left with the wish that this workshop would take place also next year.

19:45–20:30 Intermediate Presentation; 18:30–20:30 – Preparing dinner / cooking team: Alin, Elena, Andreea, Nico, Lavinia, Roxana, Ralu Boiled mixed vegetables, cabbage salad and polish sausages Quantities: 5 kg potatoes; 2 kg carrots; 4 jars of 800 g peas; 200 g butter; 100 ml oil; 1 sachet of green condiments – VEGETA. Preparation: The potatoes were peeled and washed, chopped in 1, 5 x 1, 5 cm cubes and boiled, in a 10 l pot, with VEGETA and oil. The carrots, peeled and cut in thick roundels, are boiled with the potatoes (for carrots the boiling time is 7 min). When they have boiled (still must be a little bit hard!) they are mixed with butter and peas.

Cabbage salad: 4 medium cabbages (10 cm diameter); 1, 5 kg cucumbers; 1, 5 kg radish; 100 ml oil; 3 spoons of salt; 1 little spoon of pepper; 1–2 lemons juice.

Preparation: The cabbages are cut in very fine slices (in Romanian is a word: “like of ant legs”), kneaded with salt and kept under pressure for 15 minutes. The cucumbers and radish are chopped in roundels and mixed with cabbage, oil, pepper and lemon juice. The entire composition is kept for 15–20 min before being served!

Polish sausages: 30 long and thick polish sausages (12 cm x 3 cm diameter) are fried in oil in a cast iron pot on the wooden fireplace. Bon appetit!

20:30–21:30 Dinner / dishes; 21:30 Open work night! 00:15 Happy Birthday Elena! We have finished work at around three o’clock!

Day 6

16th May, Friday 07:15 – 08:30 – Preparing Breakfast / Cooking team: Alin, Elena, Thomas; 08:30–09:00 – Breakfast; 9:30–13:00 – Finalizing the works.

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13:00–14:30 – Lunch, dishes and siesta; 14:30–17:00 – Finalizing the works ; 17:00–19:00 – Preparation of the exhibition; 20:15 Public opening of the exhibition by Thomas, Alin & Bibi The visitors were mainly children and some of their parents from the village. In the exhibition the designing process and final drawings and models of the students were shown and also the drawings of the children which were accompanied by the students and Mihaela Șchiopu. This became an “international meeting of fine artists” between students and children. It was the first time we got more in contact with the inhabitants of the village: Beginning with Andrei – drawing in front of the old fountain for the cradle, more and more children came and participated in the drawing process. Thomas Rösler, Marc Schuran and Andrei Diaconu did the project “Blackboard” and collaborated directly with the school and the children. Mihaela Șchiopu did several drawing sessions with the children during the workshop.

18:30–20:30 – Preparing dinner / cooking team: Alin, Lavinia, Roxana, Tóni, Thomas, Bianca / baking team: Andreea and Nico Mashed potatoes, tomatoes, cucumbers and cheese salad with fried polish sausages Quantities: 7 kg potatoes; 100 ml oil; 1 sachet of green dry condiments – VEGETA; 200 g butter; 1 l milk.Preparation: The potatoes were peeled and washed, chopped in small pieces and boiled, in a 10 l pot, with green dry condiments – VEGETA and oil. When they have boiled, we mash them and mix them with butter and milk and, after that we cover them with a wooden plate.

Tomatoes, cucumbers and cheese salad: 4 kg tomatoes; 3 kg cucumbers; 1 bunch of fresh/green onion; 1,5 kg cheese; 100 ml oil; 1–2 lemon juice or 50 ml vinegar. The tomatoes and cucumbers are chopped in roundels, mixed with chopped cheese (1x1 cm) and fine slices of onion and add oil, lemon juice or vinegar. The food must rest for 15–20 min before being served!

Fresh salad from green spices: 1 bunch of Parsley, 2 bunches of dill, 1 bunch of lovage; all the spices were cut in fine slices and mixed together.

Polish sausages: The long and thick polish sausages (12 cm x 3 cm diameter) were cut into three parts and fried in oil in a cast iron pot on the wooden fireplace.

The Birthday cake Quantities: 3 layers of cake; 3 sachets of cacao pudding; 1, 5 l milk; 1 kg of strawberries; 1 tube of whipped cream; 3 sachets of instant coffee; Sugar; Rum and vanilla essence Preparation: We prepare the cream with milk: we boiled the milk and add sugar and pudding. After the composition gains

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thickness we can put it in the refrigerator. We chop up a part of the strawberries (these will be placed between the 3 cake layers). After the cream cooled we can place it on first (inferior) layer and then fill it with strawberries. Than we place the second layer and drench it in syrup (it is made of the two essences that are mixed and we add sugar). We can also add a little bit of water to soften the aroma of the essence and then we boil it. We put the cream on the second layer of cake and place the strawberries also. We place the third layer (the superior one) and then cover the whole cake with cream. We place we place all strawberries on the cream “waves”. We add whipped cream on the strawberries and add instant coffee on the whole cake. We put the cake in the freezer and serve it after 30–40 minutes. Sweet Happy Birthday Elena!

21:00 – Dinner; 22:00 Surprise Celebration Cake for Elena!

Day 7

17th May, Saturday 10:00–11:00 Open Breakfast; 12:00–13:00 – Lunch; 13:00–13:15 Final discussion and conclusions. Thomas & Alin; 13:15–15:00 General cleaning of all spaces (work room, kitchen, bedrooms and bathrooms); 15:00–16:00 – Departure of Bucharest Team. Crying and Hugging*; 16:00 Departure: Sankt Pölten / Dealu Frumos–Medias (Microbus) 18:50 (Train) / 16:00 Departure Brașov Team *“When I read this point in the programme, I did not understand–now I understand” Andrei Diaconu shortly before departure

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PHOTO DOCUMENTATION 2014

Travelling of the Austrian group by train

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Arrival at Dealu Frumos, building of mixed groups and discussing the name of the groups, logo and content of identity poster.

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Visiting the village in the late afternoon–evening. Cows are coming home from the field. Attracted children by research and drawing on site and through the invitation of Mihaela Șchiopu to work with colours on an improvised wooden platform.

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Working on the identity posters: name and logo for every group.

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Kitchen – our magic place of preparation, conversation and arts

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“Maps of the Area” as result of the walks in the village and as base for the final project

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Design methods and techniques in three different groups with Muscu, Olărescu, Gronegger (folding, wooden planes and stairs, subtractive forming with plaster) and then creating sceneries with little scale figures

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Magic “Roxana Night”: The whole team gathers in the kitchen for small discussions and lots of jokes performed

by Roxana, our standup comedy artist.

This meant 2 hours of continuous laughing, eating and drinking, the perfect ingredients for a wonderful night after a good day’s work.

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Working on the final project: Although being aware of the complexity of the context and our limits (of time for research and knowing the people) there are ways to act and to react and to create in a sensible manner. We can think about proposals (drawings, crafted models and plans), what could be fitting ideas for the chosen places in the village.

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Departure of the austrian students – waiting for the train at Mediaș.

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Etnovember festival in 2014: Book Release “Inside, Outside, In-Between” and exhibition. Traditional dances of the ethnic groups at the Weaver’s Bastion in Brașov.

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2015 DEALU FRUMOS / SCHÖNBERG 3rd–9th May

METAMORPHOSIS OF A HOUSEHOLD “ALL WE NEED IS TIME”

■ The mixed groups of 27 students: GROUP BARNS I / THE VOICE: Pop George (UTBv), Micu Florentina (UTBv), Kyral Laurenz (NDU), Bosnjak Patricia (NDU), Prodan Anca (UAUIM), Galbău Andrei (UTBv); GROUP BARNS II / THE SAXON RHYTHM: Stadlmayr Andreas (NDU), Maxim Vlad (UTBv), Lang Bianca (UTBv), Iordache Adrian (UTBv), Urkon Cristina (UAUIM), Pranzl Phillip (NDU); GROUP COURTYARD / SMOOTH ÜBERGÄNGE: Kalcher Florian (NDU), Kolonovits Lisa (NDU), Ciucu Andreea (UTBv), Neagu Alexandru (UTBv), Munteanu Enia (UAUIM), GROUP INSIDE–OUTSIDE / THE HOUSEHOLD TRANSFORMERS: Pesava Julia (NDU), Wandaller Melanie (NDU), Barchizeanu Vlad (UTBv), Pietrușel Laura (UAUIM), Marc Cristian (UTBv); GROUP COURTYARD / POINT OF VIEW: Kohut Leonie (NDU), Grigoraș Cătălin (UTBv), Anghelache Vlad (UTBv), Iordache Delia (UAUIM), Beyer-Desimon Nina (NDU), Omarsdottir Veronika (NDU) ■ Concept and Teaching: Univ.-Doz. Dr. Thomas Gronegger NDU, prof. dr. Marina Cionca UTBv, prof. dr. Marius Marcu-Lapadat UAUIM, assist. prof.dr. Alin M. Olărescu UTBv ■ Teaching: MA Julia Zillinger, lecturer dr. Biborka Bartha UTBv, assist.prof.dr. Mihaela Șchiopu UAUIM, drd. sculptor Ionel Iștoc UAUIM ■ Organisation: Antónia Czika; UTBv Administrator Centrul de Arhitectură Vernaculară Dealu Frumos: Marcel Nemeti UAUIM; Local friends and helpers: Alina Şamu and Martin Maurer.

IDEA & SPIRIT 2015

Marius Marcu-Lapadat, Dean of the Faculty Interior Architecture UAUIM, Bucharest, asked us to do a project for the “Saxon House” which got recently in the property of the University and will be used in the future mainly for workshops, symposions, seminars, exhibitions ecc.

We know the owner, the bucharestian University for Architecture and Town Planning (also with a Faculty of Interior Architecture).

We also know by own experience what it means to make workshops at Dealu Frumos. The request gives us a large frame of possible contents, constellations, functions, uses, interpretations which can be filled with ideas corresponding to our experiences. We know about archetypic working needs and situations (light, working tables, spaces for crafting ...). Marius also told us especially the desire to have space for crafting.

The work of students of arts, crafts, architecture in the spaces of a former rural household will find overlapping needs with the original use. Is it possible to transform the original use and habit of the rural household in a new use as household for thinking, planning and crafting? We should not forget, that the farmers work was of incredible broad manual ability, needed a profound planning, included different crafts and ability to work

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(wood, metall, stone, ...) and experience of repairing (machines, carriages, all kind of tools, ...) – and, nevertheless, farmers needed construction abilities, as stables, barns, houses were constructed in mayor parts by themselves and their neighbours.

One could say, originally – farmers were the most authentic designers, craftsmen and architects !!!

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EN

SYNOPSIS 2015

Metamorphosis of a Household „All we need is time“ FORMER SAXON HOUSEHOLD This May we have the chance to work with an existing place at Dealu Frumos – a former Saxon household with its typology belonging to Transylvanian street villages. This household (house, ground, storages, stables and barns) is now in the property of the UAUIM. We can move free and try and experiment directly on site (where we also have refuge in case of changing weather).

The household is composed by the main house and the gate, bordering the street and in front of the house a summer kitchen with a hall. Along the northern flank storages and stables adjoin the house and pass over to a bigger barn, which is accompanied of a second and even bigger barn in little distance limiting the garden and bordering to the fieldside. The flank opposite to the stables and storages is covered by a long wall of bricks, leaving the view to the neighbouring roofs.

DIRECT PERCEPTION OF THE PLACE The panorama of creative methods, we developed in the last years, could be widened even more towards the direct perception of places and spaces. It could be nice to avoid to start with a list of needs and functions, because this would mean that we know what we need and who we are, and what we would like to be. If we just know all that, we work with “ready images”. To avoid the use of ready images, to free oneself of them, to get open minded and to become in a certain manner naive, means to get able to communicate and to perceive with the heart and the senses and not only by „Ratio“. Doing this, one does not know anymore for sure where one is arriving. And that’s fine!

- FOR A MOMENT But our stay is only for a moment. And it would be nice to come out with some concrete ideas. There is the chance that ideas, or concepts or designs are realized. So we need also to be addressed and focused on “what could it become“.

- A SHAKEN MIXTURE Let us do a well shaken mixture of very fundamental and experimental approaches for understanding and feeling the place and well focussed thoughts and designs and plans for spaces and objects of future use.

DISCOVERING AND CHARACTERIZING PLACES The big chance is, to develop and to try out new approaches to get conscious of places and their qualities – somewhat that is possible only by having time, living and enlivening a place. Important secrets of places are only discovered by dealing and playing and working with them. So one interesting question is: „How to deal, how to play,

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how to work, ... for getting to know better the place“.

We remember „hide and seek“ – a game which is marvellous for discovering the best and most secret places of a limited area. „What we need and what we are, and what we would like to be“ – is this something we decide or agree and simply plan? Is „we“ only „we“ – here and just now? ... If we try to get in dialogue with the place and it’s qualities, it’s story it’s character, it isn’t anymore only about us, but about the place and us. If we don’t care about the soul of this precious partner, the friendship will not last.

If we read the story of „Schönberg“, we recognize that almost every little feature of the local landscape has it’s own name. There is a whole list of „Flurnamen“ documentated in the book „Schönberg in Siebenbürgen – Ein Heimatbuch über diese Gemeinde“ (Martin Schnabel Hrsg). These names remember the origins of the german settlers or nominate particular vegetations or topographic situations etc. Pieces of land or ground with names are not anymore „anonymous“ – „they become beings“. Places or areas which have names are known and belong to the community or to somebody who cares. If a designer or architect tries to understand different qualities of a place and to strengthen them, he has to know and to care about the place – similar to a good farmer.

Finding and giving names helps us to chat with the little or particular places within an area – and it becomes easier for them to reply.

MEANING OF HOUSEHOLD The other big chance is, to get an idea, how these households were enliven? To know former uses, former zones, former relations (inside with outside). This could help to create a metamorphosis from a farmers household to a study, arts and crafts – household.

Metamorphosis (according to Goethe) means to grow and to transform without breaking completely with the previous form, character, structure. It would be good to address and to introduce the students in the spirit and original meaning of „Metamorphose“: remodelling, transformation (...) Botanic. To change and develop the basic form (type) of a plant organ, towards an organ with differentiated function. That means, that the transformation is based and coming out of the existing structure. It is the thought of renewal and not of the baseless „new“.

It is not only to create proposals for changes, but to try to create a very sensible transformation starting with the knowledge of the everyday use of these places. To think and to design future possibilities of use, which try to beware and to interpret former use, avoiding a complete break. The panorama is not only – how can we use and what are the future functions, but – how could the future use and function remain in relation with the former life of the household!

RURAL HOUSEHOLD In most contemporary rural households at Dealu Frumos, it is almost not possible to divide the agricultural economy and the economy of the house. Here household and agriculture build an integrated unity.

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This integrated unity is visible in the typology of the building unit of the saxon household for which we are doing a project (house, storages, stables, barns, garden). This means that also agriculral tasks and works belong to the economy of the household. The content of what is meaning household is becoming very vast: • Preparing and conserving of food and meals • Care of children or persons belonging to the household • Care of animals and kitchen-garden • Buying of necessary goods • Care, maintenance, reparation and restoration of the house or objects belonging to the household • Care of the fountain • Storing processing the harvest (hay, grain, maize, ...)

• Backing bread • Care of Animals /stables, barns • Conserving processing the meat, vegetables and fruit /cellar, storages • Conserving or processing milk/cellar, storages • Storing and processing heating material • Etc. CONSUMPTION Very interesting is, that the rural household depends only partly of consumption of aquisted goods, but it is also a producing unity (even if limited or only for proper use)! The less the household can run and develop its tasks, the more it depends on consumption.

In the view of business management there is a strong interest that households leave more and more their original interest to cover in a possibly independent and economic manner the everyday necessities.

COMMUNITY LIVING A household of more persons means staying and living together of a family or a community. Living together means to share and to get – time, work, joy, goods, experiences, ability, space, worry, etc.

Sharing needs also limits, rules, rites, feasts and a balance between collective and private sphere as counterpart. Limits and rules need decisions and deciders. The quality of decisions depends on the balance between collective and individual related experience and far-sighted wisdome of the deciding persons or groups or collective. Trusted persons or groups can enable a community to divide their best energies.

Collective decisions and decisions of the elected can also be weak, and, of course, vice versa!

Rituals repeat the same sequence of acts, which can have ceremonial, symbolic or festive character. Rituals can reinforce the common spirit and the identification with the community. Rituals use or create symbols for the inner spirit of a collective. But rituals can also have a more open and worldly character like staying or coming together and doing something joyful in a similar manner, place and time. Feasts can sign particular days or the beginning or ending of particular periods which 141 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2015

are in relation to religious events or working- or living cycles or historic events, etc. A balance between collective and private sphere can be differentiated even more by asking about how and what atmosphere or possibilities could these collective or privat spheres emanate or bring out.

Limits and rules, Rituals, collective and private sphere and similar more can be focus of the thinking about what could characterize a community living.

PROGRAMME AND OUTCOME Concepts, posters, drawings, plans and models with proposals how to deal in future with this place: • The barns were transformed in spaces for working, crafting and community events. These former borders towards the fields became a kind of interacting transition zone between household and fields.

• For the cortile we created zones with different qualities (fireplace, staying together, etc.)

• At the entrance we were creating a transition zone between inside and outside by ropes and textiles which created a nice sun protected “welcome place” in the cortile and a “welcome sign” on the outside.

• On the outer wall we created a funny integrated place for drawing with the children on blackboards.

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2015 PROGRAMME IN SHORT 3rd May–9th May 2015

Day 1 3

rd

May, Sunday

During the morning arrival at Dealu Frumos (students of UTBv and UAUIM); 12:06 Arrival at Făgăraș 12:06 (students of NDU), transfer to Dealu Frumos with private cars of students UTBv; 12:45 Meeting in Dealu Frumos (NDU, UTBV, UAUIM) + Hello and coffee; 13:00 Taking rooms and luggage; 13:15 INTRO 1 / TITLE AND WORKSHOP What ist he meaning of “household” – our project is to transform the former Saxon household in a working and living place for students. The work of students of arts, crafts, architecture in the spaces of a former rural household will find overlapping needs with the former use. We will try to compare and to adapt future visions with former use and habits. Is it possible to transform former use and habit of the rural household in a new use as household for thinking, planning and crafting? We should not forget, that the farmers work was of incredible broad manual ability, needed a profound planning, included different crafts and ability to work (wood, metall, stone, ...) and repair (machines, carriages, all kind of tools, ...) – and, nevertheless, farmers needed a big experience of construction abilities, as stables, barns, houses were constructed in mayor parts by themselves and their neighbours. One could say, originally – farmers were the most authentic designers, craftsmen and architects !!!

13:30–14:30 Lunch, dishes and siesta; 14:30–15:00 Mixing of groups, book of rules; 15:00 -19:00 Walk through the village (route along important axes and places in the village and drawing of maps, rest at the shop under an old tree and beer, walking up to the hill, overview and again drawing. Lecture on the hill by Alin Olărescu : „Reading the structure of the village“ Walking down and short stop with “Introduction about the Typology of the „Saxon House“ by Biborka Bartha; 19:00 – 19:30 Preparing dinner; 19:30–20:30 Dinner; 20:30–22:00 Presentation of the teachers and Evening Lecture: INTRO II / Alin Olărescu “Years cycle” and Thomas Gronegger “Introduction to the spirit of the workshop”.

Day 2

4th May, Monday 08:30–09:00 Breakfast; 9:15–9:30 Intro III / Measuring on site and Posters; 9:35–13:00 Measuring by feet and documentation of the “Saxon house” – a) GROUND PLAN: Measuring by feet, handmade overview plan of the whole property with partly the inner structure of the buildings. The

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different buildings and areas are marked in different colours; b) BARNS PLAN Preparation of ground-plan, section, elevation – measuring and analytic drawings of the structure of the barns (inner structure, division of the imposts and planks, sections and analysis of wood connections; c) COMMON PLAN: A selected group of students is doing an exact plan by measuring with tape (scale 1:100 = ca. 30cm x 70 cm); 13:00–14:30 Lunch, dishes and siesta; 14:30–14:45 Intro IV / Posters; 14:45–18:30 Posters with vision, identity and name of the groups, presentation of posters, assignment of functions to courtyard and buildings, division of topics and areas; 18:30–19:00 Presentation of the Posters; 19:10–19:30 Preparing dinner / general cleaning of the working place; 19:30–20:30 Dinner / dishes; After eight Songs in Romanian, Hungarian, Deutsch, English (each participant should look for favourite traditional songs which have as inspiration the rural everyday / festive atmosphere).

Day 3

5th May, Tuesday 08:30–09:00 Breakfast; 09:15–9:30 Intro V – “Paper Think Tanks” and “Common Idea” for Working Fields; 9:30–12:00 Thinking, drawing and planning about what could be done with the different parts of the property (House, stables, barns, entrance zone, outside area). Final simple use proposal; 12:0013:00 Break and introduction / preparing of the afternoon work; 13:00–14:30 Lunch, dishes and siesta; 14:30–15:00 Intro VI / Phase B – TOUCHING THE GROUND, TOUCHING THE WALLS, LOOKING THE SKY; 15:00–19:00 Beginning of the second phase: Groups are working on their models and further analytic drawings and measurements (courtyard, barns, storages, stables, surroundings), a) BARNS (structural model 1:20) b) COURTYARD / STORAGES / STABLES (working model 1:100), c) HOUSE ENTRANCE AREA AND STREET (working model 1:50); 18:50–19:00 Little presentation and overview of the models before dinner; 19:10– 19:30 Preparing dinner / general cleaning of the working place; 19:30–20:30 Dinner / dishes; After eight: Little space for thoughts and discussion accompanying the workshop, finalizing plans and models

Day 4

6th May, Wednesday 08:30–09:00 Breakfast; 9:15–9:30 Intro VII / INTRO Phase B Methods of Perception – how to explore space; 9:30–13:00 Experimental approaches to perceive the property (lines with chalk or gypsum on the ground, marking out of spaces with stakes, delimiting of space with ropes and covering them with textiles, covering zones with leaves or hay or earth or stones, signing the ground by scratching;

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13:00–14:30 Lunch, dishes and siesta; 14:30–19:00 Thinking about the exploration of the courtyard, entrance area, barns and questions: What are natural and visual characteristics or qualities or natural changes on the place which we can feel and observe? What could be methods to find out, to feel, to measure and to document the qualities and characteristics, traces of the story of the different areas in the garden. How could we observe natural changes, characteristics on the place (sun and shadow, wind, smell, ground, vegetation)?

What could be important or ideal relations of the place inside the courtyard and beyond the courtyard? What are the factors of the particular qualities and the characteristics of the barns/ stables? What are the potentials of these characteristics and qualities. Where is a potential to transform and to maintain and strengthen the character?

19:10–19:30 Preparing dinner / general cleaning of the working room; 19:30–20:30 Dinner / dishes; After eight: Evening walk in the village

Day 5

7th May, Thursday 8:30–09:00 Breakfast; 09:15– 10:00 Intro VIII / Phase C PROJECTS: All teachers have time for all students 10:00–13:00 STARTING THE FINAL PROJECT: The future use of the Saxon house will be formed by students and teachers of design- and architecture universities. Let us think about this future use, the coming together of students and teachers from different countries, which live together for a while. What does this mean for the former typological structure and how can take place sensible interventions there. We got to know the place by drawing and measuring, we made working models, we were thinking about a holistic idea, we assigned simple functions and uses to the buildings and areas of the Saxon Household, we assigned buildings and areas to the different groups and the different groups were reflecting on the character, the qualities and the potential of their areas, the different groups begun to explore “hands-on” the space of the areas and buildings. Now we should begin to start with the final project: The outcome can be drawings, plans, models, 1:1 interventions on site and their documentation and the documentation of our thoughts on posters. There is no precise format of outcome. Every group decides what will be done and shown at the final exhibition.

Please try to have joy and have the courage try out also things you never did; 13:00–14:30 Lunch, dishes and siesta; 14:30–19:00 PROJECT; 19:00–20:30 Pizza Dinner in the working room; 20:30 – OPEN END WORKING NIGHT

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Day 6

8th May, Friday 08:30–09:00 Breakfast; 09:15–13:00 Project; 13:00–14:30 Lunch, dishes and siesta; 14:30–17:00 Finalizing of the PROJECT; 17:00–19:00 Preparation of the exhibition; 19:00–20:30 Preparing dinner for the main Hall; 20:30–21:00 Fashion time and make up; 21:00 Exhibition opening and party with Marina Cionca and Ioan Muscu.

Day 7 9

th

May Saturday

09:00–10:00 Breakfast; 10:00–11:00 Luggage; 11:00– 12:45 General cleaning of all spaces (work room, kitchen, bedrooms and bathrooms); 13:00–14:30 Lunch, dishes and siesta; 14:30 Departure / students of Bucharest; 16:00 Departure: Students of Sankt Pölten / Dealu Frumos–Făgăraș, departure Mediaș 18:02 (Train). Departure / students of Brașov

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PHOTO DOCUMENTATION 2015

Arrival at Făgăraș and transfer by private cars. Building of groups and introduction in the garden in front of the fortified church.

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Walk trough the village: Route along important main axes and secondary streets and drawing of maps. Rest in front of the little shop.

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Walk up to the hill and looking back, down to the village.

Lecture by Alin Olărescu and Thomas Gronegger: „Reading the structure of the village“. Talking about the position of the “Saxon House” and it’s integration in the structure of the village.

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Presentation of posters with proposals for the property of the Saxon house. Identity and name of the groups. Assignment of functions to the courtyard and buildings.

Division of topics and areas.

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Groups are making analytic drawings and measurements and work on their models (courtyard, barns, storages, stables, surroundings – model 1:100, house entrance-area and street – model 1:50).

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Models of the barns on base of the measurements (by tape) and sketches (structural model 1:20). Reflecting the atmosphere of the light and the potential of the construction of the barns.

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Buying vegetables and cheese at the market of Agnita and “Kitchen Life” in the “Volksschule”; preparing dinner on a single oven for 30 persons; “After Eight” Alin Olărescu was singing old traditional songs; improvised hand drawn game with sugar pieces.

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Introduction on how to explore the courtyard: Experimental approaches to perceive the property (lines with chalk or gypsum on the ground, marking out of spaces with stakes, delimiting space with ropes and covering them with textiles, covering zones with leaves or hay or earth or stones, signing the ground by scratching).

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Final projects: Proposals for a future use of the barns (connecting the two barns with a “terrace-bridge”, workshop for wood, exhibition space). Wall with blind windows on the outside of the kitchen building toward the street with blackboards for children who want to draw there.

Departure of the of the Austrian students by train from Făgăraș.

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2016 DEALU FRUMOS / SCHÖNBERG 22nd–28th May

METAMORPHOSIS OF A HOUSEHOLD II

■ The mixed groups of 22 students: Group 1 IMPREUNA – WALLS, COLUMNS & PLATFORM: Kresbach Heidi NDU, Ruseva Radostina UAUIM, Andreea Geană UTBV, Kuhn Anissa NDU, Gramberger Anna NDU: Group 2 CUIB – WALLS, COLUMNS & PLATFORM: Dobrean Flaviu UTBV, Vlad Gâțeiu UTBV, Ettl Julian NDU, Ceaușescu Alexandra UAUIM, Tiefenbacher Bettina NDU, Wolf Saskia NDU: Group 3 CULOARE NEMURITOARE – BENCHTABLECHAIR: Bavcevic Marina NDU, Gebeshuber Alexander NDU, Cernescu Raluca UTBV, Fechter Ulli NDU, Vlădescu Corina UAUIM: Group 4 LIPSA TIMPULUI – BENCHTABLECHAIR: Brăgău Gabriela UTBV, Neagu Georgiana UAUIM, Loimayer Ines NDU, Binder Theresa NDU, Veseley Lisa NDU, Barchizeanu Vlad UTBv, Cristian Marc UTBv, Andreea (Bucuroaia) Ciucu UTBv, Ruxandra Nedelcu UTBv ■ Diploma students: Kohut Leonie NDU, Reisenberger Moritz NDU ■ Concept and Teaching: Univ.-Doz. Dr. Thomas Gronegger NDU, prof. dr. Marina Cionca UTBV, prof.dr. Marius Marcu-Lapadat UAUIM, assist.prof.dr. Alin M. Olărescu UTBv ■ Teaching: dr. arch. Biborka Bartha UTBv, assist.prof.dr. Mihaela Șchiopu UAUIM, lecturer dr. Ionel Iștoc UAUIM ■ Organisation: Antónia Czika; Administrator Centrul de Arhitectură Vernaculară Dealu Frumos: Marcel Nemeti UAUIM; Local friends and helpers: Alina Şamu and Martin Maurer.

IDEA & SPIRIT 2016

We want to go on with the sensible thoughts about the importance of the household in rural places, developed in 2015, putting now focus on techniques of realization of objects, 1:1 prototypes and experiencing the space of the household and its relation to the village by 1:1 architectural elements “walls & columns”. We simply try to create the mobiliar supporting our metamorphosis vision and we try to do a first sign for realization!!! – with our “concrete” table of concrete.

We will get in contact with the village and property by walking through the village, measuring cortile and buildings by steps and other simple and slow methods, thinking about identity, character and thoughts of the groups in relation to the spirit of the workshop.

We will build models of the household / property as base for further design research.

We will think about finding and creating “good places of” (coming together, thinking, working…) by experiencing the work of making a table of concrete 1:1, finding positions in the cortile and in the village with wooden platforms “Tanzboden”, creating “benchtablechairs” and thinking about “ensemble” and “stories” told by the “ensembles”, exploring and defining space by “walls & columns”. Not only the inner cortile of the household could be a place of experiencing, but also interventions on the transition zones and in the village could be of interest.

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DE RO ZUSAMMENSCHAU

PRIVIRE DE ANSAMBLU

INTERAGIEREN VON OBJEKTEN UND UMGEBUNG Der fünfte und vorerst letzte Wochenworkshop in Dealu Frumos knüpfte an das Thema des Vorjahres, “Metamorphosis of a Household”, an.

Dieses Jahr wollten wir uns erstmals an das unmittelbare Interagieren von Objekten (“Benchtablechair” und “Walls & Pillars”) in realer Größe mit und im Hof des “Saxon House” und seinen Baukörpern (Wohnhaus, neues Küchenhaus, Ställe und Stadel) auseinandersetzen. Es sollte der gesamte Zusammenhang von Entwerfen, Bauen, Positionieren und Komponieren von Ensembles – „Benchtablechair“ – im realen Umfeld, für das entworfen wurde, in authentischer räumlicher und atmosphärischer Wechselwirkung mit diesem Ort erlebt werden können (auch wenn die Objekte nur als aus Wellpappe angefertigte Kulissen vorgesehen waren).

Eine zeichenhafte echte Umsetzung sollte der in Beton gegossene Tisch werden, dessen Schalung und Guss parallel zu den anderen Aufgabenstellungen von einer Pilotgruppe handwerklich erfahrener Studierender angefertigt wurde.

INTERACȚIUNEA DINTRE OBIECTE ȘI ÎMPREJURIMI Al cincilea workshop din Dealu Frumos a continuat tema anului precedent „Metamorphosis of a Household”. Dar în acest an am dorit să discutăm despre interacțiunea nemijlocită dintre obiecte (“Benchtablechair” și “Walls & Pillars”) realizate în mărime naturală în curtea casei săsești/saxon house, și corpurile de clădire ale acesteia (locuința, noua bucătărie, grajdurile și hambarul). Trebuia astfel avută în vedere relația dintre proiectare, construire, poziționare și compunere a ansamblurilor – “bench-table-chair”– în ambianța reală pentru care se proiectaseră, în interdependența spațială și de atmosferă efectiv simțită cu acest loc (chiar dacă obiectele erau prevăzute doar ca butaforie, fiind făcute din carton ondulat). O realizare cu valoare de semnal urma să fie masa turnată din beton, ale cărei cofraj și turnare efectivă s-au făcut în paralel cu celelalte teme de lucru de către un grup pilot de studenți mai experimentați.

Metamorphosis of a Household II 2016

BEHÄBIGKEIT UND FESTIGKEIT Die Entwurfshaltung für die Objekte orientierte sich an der Behäbigkeit und Festigkeit, die „low-tec“ Betonschalungen und Güsse zulassen, und sollte doch eine Raffinesse und „in sich geschlossene Feinheit“ entwickeln. Das parallele Entwickeln der Betonschalung sowie der Entwürfe und Prototypen aus Pappe erlaubten ein sehr bodenständiges Nachdenken.

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Metamorphosis of a Household II 2016

ÎNCETINEALĂ ȘI REZISTENȚĂ Atitudinea în proiectarea obiectelor s-a orientat către ritmul lent și rezistența mare pe care le oferă cofrajul și turnarea de tip „lowtec“, urmând însă să se asigure un rafinament și o finețe intrinsecă. Dezvoltarea paralelă a lucrului la cofraj precum și proiectele și prototipurile din carton au generat un mod de gândire foarte realist.

MUZA PRIVIRII Pentru că în 2016 au participat mai ales studenți noi, care nu erau familiarizați cu satul și cu tipul de tematică dezvoltat în anii precedenți, a fost prezentată și discutată încă de la început o retrospectivă asupra problematicii și tematicii de lucru a anului precedent. Drumeția prin sat a fost însoțită

MUSE DES SCHAUENS Da 2016 vorwiegend neue Studierende teilnahmen, die mit dem Dorf und der Thematik, die im Vorjahr entwickelt wurde, nicht vertraut waren, wurde gleich zu Beginn eine Rückschau auf Fragestellungen und Ergebnisse des Vorjahres gezeigt und diskutiert. Auch war die Wanderung durch das Dorf, begleitet von Aufgabenstellungen, die die Wahrnehmung der Dorfstruktur, der Hoftypologien, der Materialien und Charakteristiken schärften, wieder ein gemeinsamer Auftakt. Das Wetter hat wunderbar mitgespielt und längere Pausen, etwa auf dem Hügel im Deutschen Friedhof, waren möglich. Der Blick von dort auf die schweren Türme der Wehrkirche und dahinter über die weite elysische Landschaft bis hin zu der im Dunst bläulich aufsteigenden, noch Schnee tragenden Bergsilhouette des Fagaras Gebirges war ein gemeinsames Erlebnis eindringlicher Dichte, wie es nur durch Muse und Zeit entstehen kann. Es kam der Gedanke auf, dass wir am Blick der Toten auf ihr Dorf, am Rückblick auf das eigene Leben, auf das Kommen und Gehen der Zeiten teilnahmen.

Später das erfrischende Bier bei dem kleinen Laden mit dem Schiebefenster und dann der Anstieg über die Schafweiden auf den Sonnberg, von dessen behäbiger Kuppe aus wir auf unser Gehöft im Verbund der Straßen- und Hofzeilen schauen konnten – jetzt waren wir angekommen und bereits mit allen Sinnen mit der Landschaft und der Stimmung des Ortes verwoben.

UNTIMED TIMED Die Kunst war es, die vielen Aufgabenstellungen gleichzeitig oder nacheinander unmerklich „getimed“ auszurollen, zu verflechten und ineinanderfließen zu lassen, so dass sie schon während des Arbeitens als “ein Zusammenhängendes“ empfunden wurden.

Der Rückblick auf Inhalte des Vorjahres, die Wanderung mit beschaulichen Pausen durch Dorf und Gegend, die

de definirea problemelor prin percepția preliminară reînnoită a structurii satului, a tipologiilor de curți, a materialelor și caracteristicilor. Vremea a ținut cu noi în mod miraculos și am putut face pauze mai lungi, de exemplu pe dealul cimitirului săsesc.

Priveliștea de acolo, spre turnurile grele ale bisericii fortificate și dincolo de ele a peisajului magic desfășurat până la siluetele munților Făgăraș care se înalțau înzăpezite în cețurile depărtării, a fost pentru noi o trăire comună intensă, așa cum nu se poate întâmpla decât în vis. S-a ivit și gândul că luam parte la privirea aruncată de cei morți asupra satului lor, la privirea retrospectivă asupra vieții lor, asupra venirii și plecării timpurilor. Mai târziu am băut berea răcoritoare de la micuța prăvălie cu geam glisant și apoi am urcat pe pășunile oilor pe Sonnenberg/Dealul Soarelui de pe a cărui culme blândă puteam vedea curtea noastră în rețeaua de drumuri și cărări ale satului.

Acum în sfârșit ajunseserăm – eram întrețesuți prin toate simțurile noastre în peisaj și în spiritul locului.

UNTIMED TIMED Era o veritabilă arta aceea de a derula toate temele simultan sau succesiv, împletindule și suprapunându-le în așa fel încât încă în timp ce se lucra să se perceapă o legătură corelativă, logică, între ele. Retrospectiva asupra conținuturilor anului precedent, drumeția cu pauzele pentru privit prin sat și împrejurimi, găsirea numelor pentru grupurile de lucru și pentru gospodăria noastră – ce importantă este denumirea unui lucru!

Măsurarea cu pasul și schițele – ca atingere, simțire și internalizare spirituală și fizică a locului și a contrastelor sale. Construirea de machete pe baza măsurătorilor cu piciorul și a dimensiunilor estimate, percepția și senzația directă care puneau în discuție cugetarea de la depărtare și probarea jucăușă. Proiectarea rapidă cu desene de mână împreună cu varierea micilor machete de obiecte „Benchtable-chair” și transpunerea lor prin construcție, după o chibzuință înțeleaptă, în mobilier potrivit la scară umană (fără mașini,

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Namensfindung für die Gruppen und unser Gehöft – wie wichtig die Benennung von etwas ist! Das Vermessen zu Fuß und das Skizzieren – als geistiges und körperliches Berühren, Spüren und Verinnerlichen des Ortes und seiner Unterschiede. Das Anfertigen von Arbeitsmodellen auf Basis der Fuß- und Schätzmaße, die dem unmittelbaren Erleben und Spüren das distanzierte Reflektieren und spielerische Erproben gegenübersetzten. Das schnelle und von der Hand gehende Entwerfen und Variieren kleiner Objektmodelle, „Benchtablechair“ und das handwerkliche Umsetzen nach gereifter Überlegung in körpergroßes gefügtes Mobiliar (ohne Maschinen, nur Cutter, Holzlineal, Leim und zum vorübergehenden Fixieren Malerklebebänder) war ein unglaublich intensives Ringen, das in solcher Dichte vom Gedanken zur Materie heute im Studienund Arbeitsalltag nur noch selten erlebt werden kann. „Walls & Pillars“ wurde als paralleles Projekt von einer Gruppe entwickelt.

Tragbare Pfeiler und Wände in modular aufeinander abgestimmten Maßen (in Wellpappe, deutlich über Körpergröße 250 cm) sollten dem Erkunden und ummittelbaren Erleben von Raumspannung dienen. Es ist eine Lust, so mächtige Wände und Pfeiler herumzutragen und aufzustellen. Sofort spürt man die Größe und die Anwesenheit des physischen Gegenübers. Man tritt in ihren „mit eigener Haut“ spürbaren Raum ein, sobald nur wenige Elemente liegend und stehend zueinander komponiert sind.

Das parallel dazu im Maßstab 1:10 angefertigte (Bauklotz-) Spiel aus Holzpfeilern und Wänden half, besonders interessante Kompositionen zu entwickeln, die dann wiederum im Großen erprobt und dokumentiert wurden. Der „Tanzboden“ – eine ohne Schrauben und Nägel zusammengelegte Plattform aus Pfosten und Brettern – bildete eine dankbare Eingrenzung im freien und bewegten 166 | THINKING ABOUT RURAL AND LOCAL SPRIT

numai cu cutterul, rigla de lemn, adezivul și pentru fixări temporare un pic de bandă adezivă)–toate acestea au reprezentat o bătălie incredibil de intensă, care cu o asemenea intensitate a transformării gândului în materie nu mai poate fi întâlnită în viața de zi cu zi a învățământului decât extrem de rar. „Walls&Pillars” a fost dezvoltat ca proiect paralel de către un alt grup de lucru. Stâlpi portanți și pereți dimensionați modular (din carton ondulat, cu înălțime peste cea umană, de 250 cm) urmau să exploreze și să determine percepția nemijlocită asupra tensiunii spațiale.

Este o mare voluptate să poți căra de colo colo cu mare ușurință și instala după dorință așa pereți și stâlpi mari. Imediat se poate simți mărimea și prezența componentei fizice. Poți păși în spațiul ei perceptibil delimitat prin “pielea lui proprie”, imediat după ce doar foarte puține elemente așezate culcat sau în picioare sunt compuse împreună.

Ceea ce s-a realizat la scara 1:10 ca un joc (de cuburi) din stâlpi și pereți a ajutat la alcătuirea unor compoziții deosebit de interesante, care apoi au fost probate la scară umană și documentate. „Terenul de dans”-(o platformă asamblată fără cuie și șuruburi, din scânduri cu suporți) a configurat o împrejmuire de bun augur în curtea liberă și accidentată.

Aici pereții și stâlpii puteau intra în dialog cu corpurile de clădire adevărate. Pereții și stâlpii au fost gândiți și ca mijlocitori între proporțiile clădirilor și obiecte și mobilier.

Totul a funcționat surprinzător de uşor, din punct de vedere al creației – a fost o săptămână minunată!

Gelände des Hofes. Hier konnten die Wände und Pfeiler mit den realen Gebäuden in Dialog treten. Wände und Pfeiler waren auch gedacht als Vermittler zwischen der Proportion der Baukörper und den Objekten und Möbeln.

Erstaunlich leicht ist alles von der Hand gegangen – eine wunderbare Woche!

2016 PROGRAMME IN SHORT 22nd May–28th May 2016

Day 1 22

nd

May, Sunday

During the morning arrival at Dealu Frumos (students of UTBv and UAUIM) 11:55 Arrival at Fagaras (students of NDU by train), transfer to Dealu Frumos with private cars of students UTBv; 12:45 Taking rooms and luggage; 13:00–14:00 Lunch and siesta (NDU, UTBv, UAUIM); 14:30–15:00 Mixing of the groups (4 groups with 5–6 students) and book of rules; 15:00- 15:30 INTRODUCTION I Basic spirit and week – overview; 15:30–18:30 Walk in the village with a new route: Church and around the church, Volksschule, Priest House, Salt Lake, Old Inn, German Cemetery and view to Făgăraș mountains, main axis passing the first shop down to the orthodox church and playing ground, Main topics of the walk: How is the structure of the properties, what are- and where are the public buildings/zones and what are their characteristics. How are the houses, stables, barns, courtyards, typologically disposed (simple sketches), what and where are the public objects (fountains, telegraph-pole, bus stations, playground). How are structured the streets (hierarchies, zones, material, ground, plants and trees, borders, fences, walls, entrances of the properties); 18:30 Meeting and sweets at Saxon house – some notes about former household and typology by Biborka Bartha; 19:30– 20:30 – Dinner / dishes; After eight: Evening Review of the last years projects with a short selection of photos (Thomas together with Leonie and Vlad) How did we try to develop spirit and methods to understand the places;

Day 2 23 May, Monday

rd

08:30–09:00 Breakfast; 09:00–10:30 INTRODUCTION II – MEASURING BY FOOT-STEPS Thomas and Leonie are doing an introduction in measuring by by foot-steps, for analytical drawings and for crafting of models of the property: Measuring by footsteps is a wonderful method to get conscious about places and houses. It’s a kind of very body-and spirit-related art of finding out where we are, how large or narrow is the area, and how is it structured or composed. We go step by step, counting and looking, to find or choose the right points of reference. We feel the ground changing – from a stony track in the wet meadow. Meanwhile measuring a huge amount of perceptions are taking place – even if this is not the centre of our attention we perceive them and they are importand for getting to know the place; PILOT GROUP CONCRETE Moritz Reisenberger is introducing Vlad and Vlad in techniques of concreting. The group is organizing and preparing

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independently material, casting, steel structure, pouring of concrete in the coming days; 13:00–14:30 Lunch, dishes and siesta; 14:30–19:00 WORK Saxon property + outside documented by complete plans in scale 1:50, 3 models with all the facades (with windows, doors and roofs) ; perspective drawings – analytic drawings with different approaches; 19:10–19:30 Preparing dinner / general cleaning ; 19:30–20:30 Dinner / dishes; After eight: Walk in the village.

Day 3

24th May, Tuesday 08:30–09:00 Breakfast; 9:00–13:00 INTRODUCTION III and work on POSTERS AND IDENTITY OF THE GROUPS: Identities have a story, identities are growing, identities are related to the character and the qualities of what they are consisting, identities have a tenacity but can be carefully developed, identities can combine the past, the present of here an now and the possible future. Identities are strongly related to names (names of persons, names of houses, names of places). WORK: Every Poster contains a proposal for the name for the former saxon property – this name is drawn or written in a strong calligraphic or typographic manner, a drawn or painted symbol, proposal how to integrate the name on the façade of the house; PILOT GROUP CONCRETE Preparing the steel armature for the concreting.

13:00–14:30 Lunch, dishes and siesta; 14:30–18:30 INTRODUCTION WORK IV “BENCHTABLECHAIR” and “WALLS & PILLARS” with different groups: a) “BENCHTABLECHAIRS” Simple sketches of first ideas for “Benchtablechairs” taking into consideration the heaviness of concrete forms … which can get also a sensible and differentiated plastic character, and its ponderous movement, try to make a simple, heavy but sensible design, be courageous to think about unspectacular forms and avoid to serve “klischees”. Try to develop an ensemble – bench – table – chair, think about where could be posed this “ensemble” within the cortile or near to the property, think about how or if the “ensemble” could tell a story, make drawings and models 1:10 (Finnpappe) which show the forming idea and story; b) “WALLS & PILLARS”: We create 8 columns of corrugated card board (250 cm × 25 cm × 25 cm) and 5 walls (250 cm × 75 cm × 25 cm).

PILOT GROUP CONCRETE Prepare the wooden casting form for the table of concrete and the inner steel structure; 18:30–19:30 Preparing dinner / general cleaning ; 19:30–20:30 Dinner / dishes; After eight: Singing time.

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Day 4

25th May, Wednesday 08:30–09:00 Breakfast; ) 9:00–13:00 TUTORIALS with different groups: a) “BENCHTABLECHAIR ”Talking about- and working on sketches and models: Morphologic Forming Process – try to develop the design in base of a morphologic process, for example caving the form out of a bloc – make different drawings and variations; Creating ensembles – change from designing a bench to table to chair – try to work with simple perspectives; Form and Family – think about form and family – how is the form of your chair, what are the characteristics, and how could you develop a bench or a table belonging to the same “family”; Ensemble and Scenography – a bench, a table and chairs create an “ensemble” of more pieces. Think about different constellations and what story (hierarchic, symbolic, …) could they tell (for example a single chair on the head of the table, two chairs on the edge of the table). Try and play with little simplified models. Make a documentation of the best ideas. b) “WALLS & PILLARS”- PLATFORM: We construct a platform with wooden boards and beams by creating a square with beams putting on logs and creating a surface with wooden boards (4mx4m = 16 square meters) without any nails and screws on the irregular ground of the property; PILOT GROUP CONCRETE Preparing the wooden casting form for the table of concrete; 13:00–14:30 Lunch, dishes and siesta; 14:30–18:30 Production of first “Benchtablechairs” in 1:1 size with corrugated card board. Composition with “Walls and Pillar” in size 1:1 on the platform inside the cortile of the Saxon House; 19:10–19:30 Preparing dinner / general cleaning ; 19:30–20:30 Dinner / dishes; After eight: Sitting together and talking

Day 5

26th May, Thursday 08:30–09:00 Breakfast; ) 9:00–13:00 Production of first “Benchtablechairs” in size 1:1 in corrugated cardboard; Production of first “Walls and Pillars” in size 1:1; Production of “Walls and Pillars” in size 1:10 of wooden boards and making first compositions: WORK: a) putting walls and columns in line in different rhythms, distances, directions, standing-lying; b) putting walls and columns in parallel lines in different rhythms, distances, directions, standing-lying c) trying to make regular central and symmetric compositions (beginning with only some elements for exploring the possibilities, then step by step with more elements) d) trying to make free compositions; PILOT GROUP CONCRETE Preparing and pouring of concrete; 13:00–14:30 Lunch, dishes and siesta; 14:30–19:00 Production of “Benchtablechairs“in size 1:1 in corrugated cardboard; First attempts to work with the Pillars in real size (compositions inside the hall and outside on the

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platform at the Saxon house on base of the tasks with the wooden “Wall & Pillar” models) 19:10–19:30 Preparing dinner / general cleaning ; 19:30–20:30 Dinner / dishes; After eight: Workshop open end.

Day 6 27

th

May, Friday

08:30–09:00 Breakfast; 9:00–13:00 Production and finishing of “Benchtablechairs” in size 1:1; THINKING ABOUT GOOD PLACES FOR BENCHTABLECHAIR Think about where to place the ensembles with little abstract scaled models within the scale model of the property. Good places: inside the cortile, outside next to the entrance, outside next to the fields, outside in the village.

Think also about a story/atmosphere/situation, which could be created by the ensemble and try to put this in relation with the position (see ensemble and scenography – day 4). Try out the constellations in real size with the 1:1 prototypes; WALLS & PILLARS Put the compositions (of Wall and Pillar) in relation with simple 1:10 scale models of parts of the buildings of the property (distance, relation, …). Put the compositions (of Walls and Pillars) in relation with the 1:10 models of Benchtablechair (of the other groups) on the prepared platforms; COMPOSITION AND MEDIATION WITH WALLS & PILLARS Depending on the place where we put our “Benchtablechairs” it might be that we need a spatial mediation towards the surrounding architecture for creating little spaces. This could be done with Walls and Pillars; PILOT GROUP CONCRETE Put off the casting structure and clean the concrete form.

13:00–14:30 Lunch, dishes and siesta; 14:30–17:30 THINKING ABOUT GOOD PLACES FOR BENCHTABLECHAIR; COMPOSITION AND MEDIATION WITH WALLS & PILLARS; 17:30–19:30 Preparation of the exhibition 19:30–20:30 Dinner / dishes; 21:00: Opening of the exhibition and Party

Day 7

28th May, Saturday 09:30 Breakfast; cleaning rooms and working place, dinner, hugging and crying… and departure.

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PHOTO DOCUMENTATION 2016

Exercises for doing meter steps (measurement by foot). Sketches – ground plan, front view and sections of the “Saxon House”. Analytic drawings – front view of the house, the stables and barns with lengths and heights.

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Concrete cast (phase 1): Preparation of the pieces of steel, bending and binding them to arm the inner nucleus of the concrete cast.

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Thomas Gronegger: Introduction and discussion of the scale models on base of the measuring by foot steps. Preparation of the base with corrugated cardboard. Working on the models of the property of the Saxon House (ensemble of the main house, kitchen house, cowshed, storage buildings, and two barns). Transport of the ready models 1:50 and walking with a “part of the village” through the village – from the Saxon House to the community hall – our second working place.

Assembling of the platform / “Tanzboden” only with beams and wooden boards without nails and screws. The horizontal level is balanced by simple substructures of wooden pieces and pilled up broken tiles. This “Tanzboden” is forming the horizontal base for different compositions with “Walls & Pillars” – real size elements getting in proportional and special relation with the existing buildings and environment.

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Mihaela Șchiopu, our artist teacher who is stimulating and helping with the wonderful posters, visualisation of objects and plans.

Alin Olărescu is preparing dinner with his group of helpers. Huge quantities of fresh vegetables, cheese, for every dinner.

Cooking in the kitchen house… with curious “helpers”.

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Concrete cast (phase 2): Because of the weather with a part of the “Tanzboden“ was fixed up an improvised protecting roof. The steel structure for arming the concrete cast is ready. Also the casting part of the table top is ready (with the “initials” of its creators).

Every group is doing its identity poster with calligraphic name of the group, symbol and colour.

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“Benchtablechair” (phase 1): First designs by drawing, making variations and crafting models 1:10 as base for discussion if the formal concept can be used for a concrete cast and construction as prototype of corrugated cardboard 1:1. Plaster and cardboard models.

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“Walls & Pillars�(phase1): Preparing the Walls (25 cm x 75 cm x 250 cm) and Pillars (25 cm x 25 cm x 250 cm) with corrugated cardboard. We developed a special technique to fold without visible inner corrugated structure. We started with ready elements and sketches for compositions with Walls & Pillars. Compositions with wooden sticks 1:10 and first compositions 1:1 in real size and modifying decisions by feeling the real space.

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Concrete cast (phase 3): The negative form and the inner steel structure is ready. The concrete is prepared by mixing of sand and cement, adding water and mixing with a shovel. The concrete is pushed in the casting form with a pole. To increase the density one student is hammering on the casting form.

“Benchtablechair” (phase 3): Cutting of the pieces for the construction of the real-size model of corrugated cardboard. First, single pieces are made and then assembled and fixed with glue and tape. After a while the tape can be pulled off carefully – creating real size models almost without any tools.

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“Walls & Pillars”(phase2): First composition outside in direct spatial communication with the real buildings (put on the platform in the cortile of the “Saxon House”).

Working process with the “big, light, real size elements” trying out compositions and feeling the space and the relation to the existing buildings. Thomas Gronegger preparing discussions.

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Final project phase “Benchtablechair”: Prototypes in corrugated cardboard in real size, painted or drawn visualizations.

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“Benchtablechair”: Trying out the relation, position and proportion of a 1:1 prototype with the surrounding architectonic environment of the cortile of the “Saxon House”.

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The final table of concrete. Table top with the initials of the “makers” – Vlad, Moritz, Cristian, Vlad.

Bachelor diploma work 2016 of Moritz Reisenberger and Leonie Kohut: Main idea to build a secondary road on the backside of the properties, opening up the village on its backside. This enables to find a new commercial use of the empty barns, maintaining the original structure (workshops, depot, etc). This would not create a contradiction to continue agricultural use.

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Bachelor diploma of Leonie Kohut: Main idea is to open up a small connection path between the main axe of the village and the new parallel secondary road on the position of the former „Saxon House“. Covered porticus on the flanks of the barns and wooden terraced garden zone with outside kitchen.

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Bachelor diploma of Moritz Reisenberger: Main idea is the modification of the barns in two levels, maintaining the morphologic form, creating space for workshops and exhibitions. The higher barns create a visible sign for the new zone at the backside of the village (plans, models, renderings).

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2017 TÂRGU LĂPUŞ 13th–20th May

PEOPLE, CRAFT AND TRADITION

■ The mixed groups of 33 students: GROUP LiSuRo Eliza Paloş (UAUIM), Diana Sas (LTPR), Harald Mehofer (NDU), Filip Daniel (LTGM), Robert Cristian Enache (UTBv); GROUP OVERLAP Marian Bărbos (LTPR), Erika Denes (UTBv), Dragos Haret (UAUIM), Lorena Tulici (LTGM), Daniela Dollack (NDU); GROUP UniForm Flaviu Dobrean (UTBv), Eveline Liță (UTBv), Alex Lăpuşan (LTPR), Klara Maria Voggender (UTBv-Erasmus); Group What Wood Weed u; Delia Pop (LTPR), Roxana Zorzolan (UAUIM), Victor Schöll (NDU), Georgiana Purcaru (UTBv); GROUP Oameni around die Welt Andreea Gherman (LTPR), Diana Alexandra Oana (LTGM), Mario Marx (NDU), Ruxandra Nedelcu (UTBv), Vlad Gâțeiu (UTBv); GROUP Creative Țoig Cătălina Dumitru (UAUIM), Miruna Alexandra Gheorghe (UAUIM), Stefan Richter (NDU), Bettina Tiefenbacher (NDU), Victoria Liebl (NDU); GROUP Anonimous Autrists Gheorghe Beșchea (UTBv–Sociology&Communication), Raul Ștefan State (UTBv–Sociology&Communication).

■ Concept and Teaching: Univ.-Doz. Dr. Thomas Gronegger NDU, prof. dr. Marina Cionca UTBv, assist. prof. dr. Alin M. Olărescu UTBv ■ Teaching: assist.prof. dr. Alin M. Olărescu (UTBv), dr. Florin Nechita (UTBv), dr. arch. Biborka Bartha (UTBv), assist.prof.dr. Mihaela Șchiopu (UAUIM), Benedikt Dekan MA (NDU).

■ Participating Teachers of the Liceul Teoretic ”Petru Rareș” Târgu Lăpuș: Florina Ciupe, Claudiu Nedea, Mariana Melania Pop (LTPR) ■ Participating Teachers of the Liceul Tehnologic ”Grigore C. Moisil” Târgu Lăpuș (LTGM) Anamaria Susana Şanta, Marta Cosma, Dorin Vaida, Mihai Burzo.

■ Partners: Town Hall of Târgu Lăpuș (mayor Mitru Leșe, vice mayor Vasile Kraus, secretary Neculina Chira, accountant Cornel Iacob); Liceul Teoretic “Petru Rareş” (Mariana Melania Pop, Mihai Burzo and Claudiu Nedea) and the Liceul Tehnologic “Grigore C. Moisil”; Tourist Information Center of Târgu Lăpuș, (Nicoleta Bud) ■ Organisation: Antónia Czika, Daniel Dămoc ■ Kitchen and administration: Dochia Horţ, Maria Câmpan (Tanti Tuţi), Viorica Gheduţiu, Felicia Viorica Man, Viorica Vele, Evi Miklos, Viorica Paşca, Iuliana Indre, Ovidiu Cureu.

■ Drivers: Viorel Nodiş, Valentin Faur, Cosmin Giurgi, Doru Oana.

■ Warm hearted people: Viorel Coroian, Călina Mârzac, Florin Mârzac, Alexandru Perţa Cuza, Nicolae Şerban, Ioan Hojda, Nicolae Pițiş , Pavel din Libotin, Ioan Ilie Bucşa, Maria Lucia Bucşa, Rozalia Bistrischi, Gavrilă Nicoară – Gavriş, Marioara Filip, Gheorghe Nichita, and the people from Târgu Lăpuş, Rogoz and Lăpuşul Românesc.

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EN RO IDEA & SPIRIT 2017

IDEA & SPIRIT 2017

The year 2017 brought a change of place and also an extension of the institutional workshop team. Based on the contacts initiated in December 2017 by the sociologist lect.dr. Florin Nechita and assist.prof.dr.

Alin Olărescu with the local authorities and the managers of the Liceul Teoretic “Petru Rareş” and the Liceul Tehnologic “Grigore C. Moisil” (highschools) from Târgu Lăpuș, it was decided to carry on the international design workshop in the campus of the Liceul Teoretic “Petru Rareş” from Târgu Lăpuş.

The institutional structure was extended by adding the two highschools from Târgu Lăpuș, which assured the local components and brought their local color and values to the team and to the entire approach.

Târgu Lăpus is a small town that is an administrative, social and cultural hub of the villages that form the Țara Lăpușului district in the north of Romania, in an area integrated to Maramureș County – where tradition and modernity meet and melt offering contemporary models of sustainable living.

The students and teachers, including the highschool students from Târgu Lăpuș, were accommodated in the home offered by the Liceul Teoretic “Petru Rareş” and had their meals in the cafeteria of the campus. The preparation of the rooms and the meals was organized by the excellent administrative host team. The working space, two luminous rooms with large windows, relatively isolated from the school routine but from where it was possible to observe the rhythm and development of the activities at school and in its surroundings, helped substantially the carrying – on of the workshop and the propitious investigation of the existing situation.

The Research and Inspiration Module in the local area benefited from the coordination of the Center for Tourist Information from Târgu Lăpuș, the directions being set up with Nicoleta Bud. Three school busses were put at our disposal by the Town

Anul 2017 a adus o schimbare de locație dar şi o lărgire a echipei instituționale. Astfel, pe baza contactelor inițiate, în decembrie 2016, de către sociologul lect. dr. Florin Nechita şi lect. dr. Alin Olărescu cu autoritățile locale şi cu conducerea Liceului Teoretic “Petru Rareş” din Târgu Lăpuş, s-a decis desfăşurarea workshopului internațional de design în campusul Liceului Teoretic “Petru Rareş” din Târgu Lăpuş.

Structura instituțională s-a lărgit prin adăugarea celor două licee din oraşul Târgu Lăpuş: Liceul Teoretic “Petru Rareş” şi Liceul Tehnologic “Grigore C. Moisil”–acestea–prin elevii şi profesorii participanți–au asigurat componenta locală şi au adus coloritul specific şi plus valoare echipei şi demersului.

Târgu Lăpus este un oraş mic, catalizator administrativ, social şi cultural al satelor ce alcătuiesc Țara Lăpuşului din nordul României, într-o zonă integrată administrativ județului Maramureş–zonă în care tradiția şi modernitatea se întâlnesc şi se contopesc reciproc şi care oferă modele actuale de trai sustenabil.

Studenții şi profesorii, inclusiv elevii din Târgul Lăpuş, au locuit în căminul de elevi al Liceului Teoretic “Petru Rareş” şi au luat masa în cantina acestui campus. Pregătirea camerelor şi a meselor a fost asigurată de către excelenta echipă administrativă gazdă.

De asemenea spațiul de lucru, format din două încăperi, vitrate, luminoase, deasupra cantinei–relativ izolate față de fluxul şcolar dar de unde se poate observa ritmul şi desfăşurarea activităților în şcoală şi împrejurul ei–a ajutat desfăşurarea în condiții optime a workshop-ului şi la investigarea propice a situațiilor existente.

Modulul de investigare şi inspirație locală / Research and inspiration in the local area a beneficiat de coordonarea Centrului de Informare Turistică din Târgu Lăpuş, traseele fiind stabilite împreună cu Nicoleta Bud. Au fost puse la dispoziție, de către Primăria oraşului Târgu Lăpuş, trei microbuze şcolare

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Hall of Târgu Lăpuș. They were used to explore the following villages: Rogoz, at 6 km, where there could be seen a wooden church belonging now to the UNESCO Heritage treasures, and an active village museum; Libotin, with its small wooden church, the traditional households and welcoming people; Dealul Corbului–a widespread village with households frozen in time, with straw roofs, where pigs were living in the courtyard and the dead were buried inside the household, every family having its small graveyard, therefore keeping tightly in touch with their ancestors.

Here in these places were seen, heard, investigated, understood: the wattles (made of twigs), the wood structures typical for the area (gates, roofs, walls, etc.), the ways of organizing the households and the functional relation between house, barn, garden, the way of life of the local people as well as their stories.

Our workshop followed two basic ideas.

On the one hand it was the analog research on site of local building structures and reflecting about their particularities, qualities and potential. On the other hand we were working on the construction of objects, integrating weaving structures. One part of these objects should create a relationship with the local-urban outside-situation of the school-campus, where we were working.

The other part of the objects should get in sensible relationship with the intern livingspaces of the scolars in the dormitory.

We were accompanied by the team of the Faculty of Sociology and Communication UTBv, coordinated by lect.dr. Florin Nechita, who documented and interviewed not only all the other participants at the workshop but also many villagers about their personal vision upon traditional crafts and their value for the contemporary world.

cu care s-au vizitat şi investigat următoarele localități: satul Rogoz–aflat la o distanță de cca. 6 km, care deține o biserică de lemn intrată în patrimoniul UNESCO precum şi un muzeu al satului activ; satul Libotin cu mica sa biserică de lemn, gospodăriile tradiționale şi oamenii primitori; satul Dealul Corbului– un sat risipit cu gospodării încremenite în timp, cu acareturi şi case acoperite cu paie, cu porcii legati în ogradă şi cu morții îngropați în cuprinsul gospodăriei proprii, fiecare familie având propriul sau mic cimitir, asigurandu-şi, astfel, o legatură strânsă cu strămoşii. În aceste locuri au fost văzute, investigate şi înțelese: împrejmuirile împletite autentice, structurile din lemn tipice zonei (porți, acoperişuri, pereți etc.), organizarea gospodăriilor şi relația funcțională dintre elementele componente (casă, grajd, grădina…), modul de viața al localnicilor dar şi ascultate poveştile acestora.

Ne-am asumat două arii tematice. Prima s-a referit la documentarea locală privitoare la structurile de construcție și la cugetarea asupra particularităților, calităților și potențialului acestora. În același timp ne-am propus să ne ocupăm de crearea de obiecte din împletituri de nuiele, în care s-a integrat tema referitoare la meșteșugul împletitului.

Aceste obiecte urmau să se refere atât la situații local-urbane din spațiile exterioare ale liceului, acolo unde lucram, ca și la încăperile internatului unde eram cazați.

Tot acest demers a fost însoțit de echipa Facultății de Sociologie şi Comnicare a UTBv, coordonată de lect. dr. Florin Nechita, care a documentat şi intervievat atât participanții la workshop cât şi localnicii asupra viziunii personale asupra meşteşugurilor tradiționale şi a valorii acestora în lumea contemporană.

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EN SYNOPSIS

One of the deepest psychological needs of scholars, living together in two or three or more, is probably the wish or need of some privacy and own space (even if temporary). Privacy does not need to exclude contact with the others. There is a huge range of “shades of grey” between being exposed and being separated. Working and thinking about these “shades of grey” could be a very psychological and sensible task to create in some way a “home” for scholars who are living far from their families. And the wish to stay in contact with others or not is something in motion. The possibility to change could be an important question.

The idea was, crafting wooden structures partly covered with woven surfaces and trying to create objects for the local outside situation and for the spaces of the school. We tried to get inspirations from local urban situations and crafted constructions (wooden and woven structures).

The workshop was accompanied by photographic documentation, texts and interviews regarding the didactic concept, the working process, the thinking about local characteristics, qualities and potential and about the role of manual crafting.

SHORT DESCRIPTION OF THE MODULES The working tasks were divided in different modules. The modules were organised in a rough chronological plan, but the real handling of the modules was decided on site on behalf of the needs and possibilities.

MEASUREMENT AND PERCEPTION Measurement and perception was taking place on the selected local outside situation and on the building structure of the hosts. The idea was to enable students to work on site, to develop and handle methods of measuring with tape and by foot-steps, making handdrawn plans, using different scales ecc. This is not only a process of technical documentation and visualisation, but also a method to feel and understand the environment, the structure and qualities of the space, the changes of atmosphere and how these spaces are enlivened by people. The slow manual or moving process of measurement was accompanied by a kind of observing protocol: How is the light, how is the view, how is the material or structure, what are special characteristics, how is the atmosphere, how are moving the people … and further more.

Outcomes: sketches, plans, measurements, skills of measuring and observing, observation protocol.

RESEARCH AND INSPIRATION IN THE LOCAL AREA This module has taken place at local villages and museums. The main interest was focussing on hand crafted wooden construction

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and construction details of buildings and wooden environment but also on traditional woven structures, such as fences, little barns, objects of everyday use. We were able to observe the haptic and atmospheric qualities of hand-made objects and constructions, the simplicity and cleverness of their crafts-concept and the huge range of variety and expression based on local material, low-tec manufacturing and the manual skills and poetry of the persons who crafted them. Observing, photographing, sketching and making notes was our method of research and starting point of our further design process.

Outcome: Sketches, documentary photos, notes.

WORKING MODELS Special situations of the local area which were measured by steps and the measured spaces of the school building were elaborated as scaled “working models” which enabled us to think and to experience the space in a different and maybe more experimental manner. It’s very easy to fix up simple models of inside and outside spaces. And by photo one can simulate also the perception of space in relation with objects.

INTRODUCTION WATTLING The introduction of wattling was inspired by the structure of traditional fences. Wooden strips were holed in a file. Shashlik sticks were pulled in the holes and we were able to insert weaving material of round or splitted rattan. The simplest structure to hold in tension weaving material is to bend short pieces between 3 sticks like warp and weft (Kette und Schuss).

• if we are adding the weft (Schuss) in this constellation one above the other we get the first simple structure • if we would like to multiple this field of structure we will see that we get a point of contact • if we shift this point together in manner that the ends of the wefts (Schuss) are crossing on the same stick (warp/Kette) we get a crossing intersection field • if we turn the second field of structure with it’s convex part in the opposite part • if we are adding the weft (Schuss) one above the other and turn the convex part in a changing manner we get a convex-convex tructure • if we are adding a raw of two (3,4,5…) wefts above the other raw in a changing manner (2, 3, 4, 5…) we get a convex-convex structure with distances • and in this manner on …

Students (groups) were asked to develop their own methodical strategies and try to develop possibly a wide range of variations – from the simplest to the more complicated constellations.

The development of methodical strategies should base on the 191 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2017

morphologic parameters of form which are part of the wattling process: • nr. of covered warp sticks–min. 3 … 4, 5, 6 …

• distance of warp sticks • rhythm of covering warp sticks with weft material (1:1:1, 1:2:1, 1:3:1; 2:3:2 …)

• rhythm and direction of weft material • length of weft material • composition of contact zone or intersection of contact zone INTRODUCTION WOODEN STRUCTURE Introduction on how to use pre-prepared wooden strips to craft simple orthogonal constructions which create frames filled with shashlik staves by sawing with the handsaw, and connected by dowelling with shashlik staves SIMPLE STRUCTURES/OBJECTS FOR LOCAL OUTSIDE SITUATIONS After measuring an interesting local situation – at Târgu Lăpuș and the direct surroundings of the school we were thinking about what kind of improvement could be created by simple orthogonal wooden constructions covered partly by woven structures. Our inspiration were simple pavilions, screens, fences, pergola, …etc. They are creating intimate zones, protected zones, screens (sun, wind, noise, …) for waiting, playing, staying together, …

We were analyzing the local-urban situation, we were observing how are people enlivening this situation and places, what could strengthen and improve this situation. We were thinking about what kind of object(s) could be created especially for this environment, where and how could it be placed, what size and form could it have. How could it be integrated in a sensible way in the existing situation.

Construction guide lines: • try to create simple orthogonal forms • try to insert wattling framework SIMPLE STRUCTURES/FURNITURE FOR INSIDE SPACES We were thinking about the scholars and their situation staying (partly first time) far from home (communication, staying together, privacy, …). After measuring and having done the perception protocol we were thinking about the rooms and spaces and their relation of “community spaces”, “privat spaces”, “infrastructure spaces”. What is happening where, what could happen where. How could we strengthen with simple orthogonal furnitures/objects (with partly woven frames) the situation in private-, communityor infrastructure spaces.

• what kind of objects could this be?

• how could these objects/furniture stay in relation with the 192 | THINKING ABOUT RURAL AND LOCAL SPRIT

different spaces (proportion, form, size, position)?

• what kind of use could these objects have?

• What kind of atmospheric expression could these objects have?

• what could be examples for our interventions (paravent, window space, baldachin, …)?

• what kind of improving qualities could these objects introduce in the spaces and their relation?

Baldaquin, Window-Space, Screen The very special character of these furniture/objects was, that they are not simple furniture with a simple defined function as … a table is a table (for eating and working), a chair is a chair (for sitting) …

Baldaquin, window-Spaces and screens are not so easily to describe through direct functions. It’s more the relation to space, and the creation of space within a space. In the following there are three examples worked out only in a very basic manner to communicate the spirit of these thoughts translated in objects.

One of the leading thoughts beyond the direct needs of scholars was also to create a parallel format to the module “THINKING AND DESIGNING SIMPLE STRUCTURES/OBJECTS FOR LOCAL OUTSIDE SITUATIONS”. Both Modules were elaborated in a very similar manner with orthogonal connected wooden strips integrating woven structures.

Baldaquin Baldaquin is a wonderful poetic theme. A baldaquin is creating space without defining it completely … it is more a psychological space or symbolic space (think about the baldaquin above the throne or bed of Lords, or the portable baldaquin of priests doing a pilgrimage). Considered in a more profane way, the beach chair is creating with it’s baldaquin a kind of chair-room, protecting from wind, sun, loudness without being closed like a cabin. Anyway, the baldaquin is creating space belonging to the furniture or zone to which related.

Window-Living-Space The Window is the place of desire, nostalgia, outreach. The window is a special place! The window could become a zone of easy, lazy staying, if we create the possibility for sitting or lying in or in front of the window.

Screen Screens were used for hiding zones in a room – for changing clothes, for hiding the wash bowl, …

Screens normally are light, moveable- and foldable structures which can be free-standing or connected with a wall. Screens could change the space on behalf on the needs in a simple manner. The placing of screens and their joints could predefine interesting unexpected special situations. The design of screens 193 | SEVEN YEARS OF DESIGN AND CRAFTS BASED RESEARCH ON SITE: 2017

can be handled in an extremely sensible way. Simply the question of the height, the width and the position can change completely the expression and interaction with the space. Furthermore the transparency by open worked woven structures can separate without excluding the sight … and there are also many “shades of transparency”.

ARTISTIC VISUALISATION The modules “Thinking and Designing” were accompanied by the Module “Artistic Visualization”.

This is an integrated module in which students are introduced in artistic techniques and skills to translate their sketches and plans in artistic visualizations. This will be done in individual tutorials or group tutorials. We try to introduce contemporary in very different techniques for creating a wide panorama of possible solutions.

Students should be encouraged to work and try new and unknown visualisations.

Outcome: Drawings, and Paintings with different artistic techniques.

SPECIAL SOCIOLOGIC FIELD RESEARCH We were developing questions for interviews about crafting.

• what could be the meaning of crafting in the context of science, arts and design • what could mean “crafts-based” thinking • what could be the meaning of tradition in our contemporary context • why could be necessary a crafting experience for students of engineering and design

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2017 PROGRAMME IN SHORT 13th May–20th May 2017

Day 1

13th May, Saturday 17:48 Arrival of Bucharestian team in Târgu Lăpuş in Gîlgău train station, welcoming by Brasovian team and transfer with scholar bus in Târgu Lăpuş. 19:00 Arrival of Brasovian and Bucharestian team in Târgu Lăpuş – Join with local team – First vision about workshop and week schedule – Division in the rooms and luggage. 20:30 – Dinner. 21:00 Short visit of Târgu Lăpuş and welcome stories in working room.

Day 2 14

th

May, Sunday

05:00 Departure by school bus from Târgu Lăpuş to Dej train station to wait and pick-up the Austrian Team. 08:30 Arrival of Austrian team in Târgu Lăpuş. 9:30 – Breakfast 10:30– 11:00 – General idea and spirit of workshop. 11:00–12:00 – Visit of Info Tourist Point Târgu Lăpuş, hosted by Nicoleta Bud. Short presentation about Ţara Lăpuşului. 12:00–13:00 – Walking, talking and .... visiting Târgu Lăpuş; 13:00–14:30 – Lunch, dishes and siesta; 14:30–20:30 – Research and Inspiration in the local area (I): wooden churches and villages: Rogoz, Libotin, Cupşeni – (Kid). Mixing 7 groups with 5 persons: 3 groups for Indoor Design, 3 groups for Outdoor Design and 1 Media Group.

Discussion about group identity (name and poster). 20:30– 21:30 – Dinner and dishes. After… nine – fairy tales about everybody and identity poster group.

Day 3

15th May, Monday 08:30–09:00 – Breakfast. 09:00–11:00 – Identity poster group.

11:00–13:00 – Introduction in Knitting structures.

13:00–14:30 – Lunch, dishes and siesta; 14:30–20:30 – Introduction in “Wooden Structures” 20:30 – 21:30 – Dinner and dishes. After… nine – Singing night: Romanian, Austrian, Hungarian traditional songs performing by voice and acoustic guitar.

Day 4

16th May, Tuesday 08:30–09:00 – Breakfast. 09:00–13:00 – Introduction measurement and perception.

13:00–14:30 – Lunch, dishes and siesta; 14:30–20:00 – Research and Inspiration in the local area (II): Dealu Corbului and Florean Museum. 20:30–21:30 – Dinner and dishes. After… nine – Traditional dancing night

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Day 5

17th May, Wednesday 08:30–09:00 – Breakfast. 09:00–13:00 – Finishing weaving and wooden structure and working models.

13:00–14:30 – Lunch, dishes and siesta; 14:30–20:30 – Introduction: Thinking and Designing simple structures/ objects/ furniture. 20:30–21:30 – Dinner and dishes. After… nine – Open work night.

Day 6

18th May, Thursday 08:30–09:00 – Breakfast. 09:00–13:00 – Thinking and Designing simple structures/ objects/ furniture.

13:00–14:30 – Lunch, dishes and siesta; 14:30–20:30 – Thinking and Designing simple structures/ objects/ furniture. 20:30–21:30 – Dinner and dishes. After… nine – Open work night.

Day 7

19th May, Friday 08:30–09:00 – Breakfast. 09:00–13:00 – Finishing: Thinking and Designing simple structures/ objects/ furniture.

13:00–14:30 – Lunch, dishes and siesta; 14:30–18:30 – Preparing exhibition; 18:30–20:00 – Vernissage and public exhibition. 20:30–21:30 – Dinner and dishes. After … nine – Final party.

Day 8

20th May, Saturday 08:30–09:00–Breakfeast. 09:00–09:30 – Room cleaning, luggage Austrian team. 09:30–09:40 – Hugging...crying (I) and departure of Austrian team.

13:00–14:30 – Lunch, dishes and siesta; 14:30–17:30 – Dismantle the exhibition – partly remove in the school, partly packing and transport to Braşov. 17:30–18:00 – Hugging...crying (II) and departure of Bucharestian team and local team. 20:30–21:30 – Dinner and dishes.

Day 9

21st May, Sunday 08:30–09:00 – Breakfast. 09:00–09:30 – Room cleaning, luggage. 09:30 – Departure of Brasovian team. Visit of Rohița Monastery.

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PHOTO DOCUMENTATION 2017

Arrival in Gîlgău train station, transfer by Schoolbus to Targu Lapus. Arrival at the campus of the Liceul Teoretic “Petru Rareş” and dividing the rooms. Short talk with the nice kitchen ladies.

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Welcome word from the Mayor of Târgu Lăpuş and our generous hosts, the managers of the Liceul Teoretic ”Petru Rareș” Târgu Lăpuș: Mariana Melania Pop (LTPR), Claudiu Nedea, the vice mayor Vasile Krauss, Benedikt Dekan as Head and Leonie Kohut as Assistent Teacher (NDU). First discussion about the week schedule with Alin Olărescu. Introduction about the region and particularities of Târgu Lăpuş and Rogoz by Nicoleta Bud. Mihaela Șchiopu our Artist Teacher from Bucharest.

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Exploring the near surroundings of the Campus and walk through Târgu Lăpuș and later to Lighet Lake (two wooden constructions for coming together and barbeque).

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Measurements and investigations for the project: inside and outside. The idea was to craft wooden structures partly covered with woven surfaces trying to create objects for the outside situation and for the spaces in the dormitory. One of the most visible psychological need of scholars, living together far from home in rooms with three or more students, is probably the wish or need of some privacy and their own space.

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Visiting Rogoz with its wooden churches (UNESCO heritage) and the local peasant’s museum (traditional interior). Analyzing the characteristic portal on the long table under the roof of the church. The table is for coming together of the families on festive days and for serious discussions with the priest in case of conflicts between families.

Walking around in the village.

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Kid–Cupşeni, stop at a little bar after visiting and walking. The informal place for mixing working groups and first group discussion/ideas/sketches about the group identity.

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The introduction for weaving and wooden frames is inspired by the structure of traditional wooden constructions, fences, ladders etc. Wooden strips holed in a file. Shashlik sticks are pulled in the holes and we can begin to insert weaving material of round rattan.

The simplest structure to hold in tension the weaving material is to bend short pieces between 3 sticks like warp and weft (Kette und Schuss).

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Research and Inspiration in the local area (II): Dealu Corbului, visiting and talking with the villagers.

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Open working night: Baldaquin, Window-Space, Pergola, Screen, The special character of these furniture/objects is that they are not simple furniture with a simple defined function for inside or outside. Baldaquin, window-Spaces and screens are not so easily to describe through direct functions. It’s more the relation to space and the creation of space within a space.

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Exhibition opening and surprise birthday cake for Ruxandra Nedelcu, UTBv.

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04

SURVEY OF THE COMMON ACTIVITIES IN THE FRAME OF COOPERATION 2011–2017

Partnership of New Design University / NDU, Transilvania University of Brașov / UTBv and University of Architecture and Town Planning Ion Mincu Bucharest / UAUIM

2010 2011 2011

2011

2012 2012

Exhibition / 19th–27th November – Etnovember 2010 Festival at Brașov. „Arts & Crafts“ Transilvania University of Brașov. lecture: „Crafts, Material and Form“ Thomas Gronegger Preparation Meeting / February at Brașov – with prof. Marina Cionca, prof. Maria Cristina Timar, prof. Lidia Gurău and conf.

Alin Olărescu (UTBv), prof. Marius Marcu-Lapadat (UAUIM), Univ.-Doz. Dr. Thomas Gronegger (NDU) Workshop and Research Project „Window & Wall“ / 8th–14th May at Brașov – with 18 MA students of the New Design University (NDU), Transilvania University of Brașov (UTBv) and Ion Mincu University Bucharest (UAUIM) concept and teaching: prof. Marina Cionca, prof. Maria Cristina Timar, prof. Lidia Gurău, assist.prof. Alin Olărescu (UTBv), Univ.-Doz. Dr. Thomas Gronegger, prof. Christian Knechtl NDU, prof. Marius Marcu-Lapadat (UAUIM) Exhibition „Window and Wall“ / 19th–26th November – Etnovember 2011 Festival at Brașov: Presentation of the models, plans, drawings and photographic documentation of the workshop together with prof. Marina Cionca, prof. Maria Cristina Timar, prof. Lidia Gurău, assist.prof. Alin Olărescu, (UTBv) Brașov; Univ.

Doz. Dr. Thomas Gronegger and prof. Christian Knechtl, (NDU) Sankt Pölten; prof. Marius Marcu-Lapadat (UAUIM) Bucharest in the Aula of the Transilvania University Preparation and Drawing up Meeting / 24th–26th February at Dealu Frumos (Institute of Vernacular Architecture) – for the upcoming workshop and the publication „Window and Wall“ – with prof. Marina Cionca, assist.prof. Ioan Muscu, assist.prof.

Alin Olărescu, (UTBv) and prof. Marius Marcu-Lapadat (UAUIM) Workshop and Research Project „Inside, Outside In-Between I“ / 12th–19th May at Dealu Frumos – with 25 students of the three Universities (NDU) Sankt Pölten, (UTBv) Brasov, (UAUIM) Bucharest concept and teaching: prof. Marina Cionca (UTBv), Univ.Doz. Dr. Thomas Gronegger NDU, prof. Marius Marcu-Lapadat (UAUIM), assist.prof. Alin Olărescu (UTBv), prof. Neil Harkess (NDU) teaching: assist.prof. Mihaela Șchiopu (UAUIM), lect. Ionel Iștoc (UAUIM), Kathrin Baumgartner (NDU) organisation: Antónia Czika (UTBv); Administrator Centrul de Arhitectură Vernaculară Dealu Frumos: Marcel Nemeti (UAUIM)

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2012

2012

2013

2013

Exhibition „Inside, Outside, In-Between” / 28th September–19th October – Rumänisches Kulturinstitut Wien RKI: Presentation of the models, plans, drawings and photographic documentation of the workshop „Inside, Outside, In-Between“ 2012. Opening speech: Dr. Gabriel Kohn, Mag. Lukas Marcel Vosicky.

Introduction: Univ.-Doz. Dr. Thomas Gronegger and assist.prof.

Alin Olărescu. Design of the Exhibition: Benedikt Dekan, Manuel Weilguny, Corinna Danninger, Marc Eidler. Sponsoring by “Österreichisch-Rumänische Gesellschaft” Exhibition „Inside, Outside, In-Between”, Presentation of the Book and short Workshop / 15th–18th November. Etnovember 2012 Festival at Brașov: Presentation of the models, plans, drawings and photographic documentation of the workshop „Inside, Outside, In-Between“ 2012 in the Aula of the Transilvania University. Presentation of the book: „Window & Wall” Workshop: „Wood Connections“ Preparation meeting for the upcoming workshop curator of the exhibition: prof. Marina Cionca, assist.prof.

Ioan Muscu, Univ.-Doz. Dr. Thomas Gronegger, assist.prof. Alin Olărescu designer of the exhibition: Benedikt Dekan, Manuel Weilguny, Corinna Danninger, Marc Eidler Preparation and Redaction Meeting / 27th – 30th January at Dealu Frumos (Institute of Vernacular Architecture) – for the upcoming workshop and the publication: Participation to the discussion about future research projects: prof. Marina Cionca, assist.prof.

Alin Olărescu, dr. Biborka Bartha (UTBv); prof. Marius MarcuLapadat, prof. Liviu Gligor (UAUIM), Univ.-Doz. Dr. Thomas Gronegger. In this occasion two BA students of the NDU, Elisabet Fellner and Benedikt Dekan were making measurements and documentations for their BA Project Workshop and Research Project „Inside, Outside In-Between II – Working with a Village“ / 7th–13th April at Dealu Frumos – with 24 students of the three Universities (NDU) Sankt Pölten, (UTBv) Brasov, (UAUIM) Bucharest. concept and teaching: Prof. Marina Cionca (UTBv), Univ.Doz. Dr. Thomas Gronegger NDU, assist.prof. Alin Olărescu (UTBv), prof. Marius Marcu-Lapadat (UAUIM) teaching: assist.prof. Ioan Muscu (UTBv), drd.arch. Bíborka Bartha (UTBv), assist.prof. Mihaela Șchiopu (UAUIM), lect. Ionel Iștoc (UAUIM) organisation: Antónia Czika (UTBv); Administrator Centrul de Arhitectură Vernaculară Dealu Frumos: Marcel Nemeti (UAUIM)

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2013 2014

2014

2015 2015

Exhibition „INSIDE, OUTSIDE, IN-BETWEEN II“ / 15th–23th November – Etnovember Festival at Brașov: Presentation of the models, plans, drawings and photographic documentation of the workshop 2013 in the Aula of the Transilvania University. curator of the exhibition: prof. Marina Cionca, Univ.-Doz. Dr. Thomas Gronegger, assist.prof. Alin Olărescu designer of the exhibition: assist.prof. Ioan Muscu Workshop and Research Project “INTERVENTIONS IN PUBLIC SPACES. RURAL EVERYDAY AND FESTIVE PLACES” / 11th–17th May at Dealu Frumos – with 22 students of the three Universities (NDU) Sankt Pölten, (UTBv) Brașov, (UAUIM) Bucharest. concept and teaching: Univ.-Doz. Dr. Thomas Gronegger NDU, prof. Marina Cionca (UTBv), prof. Marius Marcu-Lapadat (UAUIM), assist.prof. Alin Olărescu (UTBv) teaching: assist.prof. Ioan Muscu, dr. Biborka Bartha (UTBv), assist.prof. Mihaela Șchiopu UAUIM, lect. Ionel Iștoc (UAUIM) organisation: Antónia Czika (UTBv); Administrator Centrul de Arhitectură Vernaculară Dealu Frumos: Marcel Nemeti (UAUIM) Exhibition “INTERVENTIONS IN PUBLIC SPACES. RURAL EVERYDAY AND FESTIVE PLACES” and Presentation of the New Book „INSIDE, OUTSIDE, IN-BETWEEN I/II“ / 13th–18th November – Etnovember 2014 Festival at Brașov: Presentation of the models, plans, drawings and photographic documentation of the workshop 2014 in the Aula of the the Transilvania University. Presentation of the new book. curator of the exhibition: prof. Marina Cionca, Univ.-Doz. Dr. Thomas Gronegger, assist.prof. Alin Olărescu designer of the exhibition: assist.prof. Ioan Muscu Preparation and Redaction Meeting / 12th–15th March at Dealu Frumos (Institute of Vernacular Architecture) – for the upcoming workshop: prof. Marina Cionca, assist.prof. Alin Olărescu, dr.

Biborka Bartha (UTBv); Univ.-Doz. Dr. Thomas Gronegger NDU. Workshop and Research Project „METAMORPHOSIS OF A HOUSEHOLD“ / 2nd–9th May at Dealu Frumos – with 27 students of the three Universities (NDU) Sankt Pölten, (UTBv) Brașov, (UAUIM) Bucharest.) concept and teaching: Univ.-Doz. Dr. Thomas Gronegger NDU, prof. Marina Cionca (UTBv), prof. Marius Marcu-Lapadat (UAUIM), assist.prof. Alin Olărescu (UTBv) teaching: MA Julia Zillinger, dr. Biborka Bartha (UTBv), assist. prof. Mihaela Șchiopu UAUIM, lect. Ionel Iștoc (UAUIM)

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organisation: Antónia Czika (UTBv); Administrator Centrul de Arhitectură Vernaculară Dealu Frumos: Marcel Nemeti (UAUIM)

2015 2016 2016

2016 2017

Exhibition “METAMORPHOSIS OF A HOUSEHOLD” / 20th–25th November – Etnovember 2015 Festival at Brașov: Presentation of the models, plans, drawings and photographic documentation of the workshop in the Aula of the Transilvania University. curator of the exhibition: prof. Marina Cionca, Univ.-Doz. Dr. Thomas Gronegger, assist.prof. Alin Olărescu designer of the exhibition: assist.prof. Ioan Muscu Preparation meeting / 12th–15th March at Dealu Frumos (Institute of Vernacular Architecture) – for the upcoming workshop: Univ.Doz. Dr. Thomas Gronegger and assist.prof. Alin Olărescu Workshop and Research Project „METAMORPHOSIS OF A HOUSEHOLD II“ / 22nd–28th May at Dealu Frumos: with 22 students of the three Universities (NDU) Sankt Pölten, (UTBv) Brașov, (UAUIM) Bucharest. concept and teaching: Univ.-Doz. Dr. Thomas Gronegger NDU, prof. Marina Cionca (UTBv), assist.prof. Alin Olărescu (UTBv) teaching: dr. Biborka Bartha (UTBv), lect.drd. Mihaela Șchiopu (UAUIM), lect. Ionel Iștoc (UAUIM) organisation: Antónia Czika (UTBv); Administrator Centrul de Arhitectură Vernaculară Dealu Frumos: Marcel Nemeti (UAUIM) Exhibition “METAMORPHOSIS OF A HOUSEHOLD II” / 17th–20th November – Etnovember Festival at Brașov: Presentation of the models, plans, drawings and photographic documentation of the workshop 2016 in the Aula of the Transilvania University. curator of the exhibition: Prof. Marina Cionca, Univ.-Doz. Dr. Thomas Gronegger, assist.prof.dr. Alin M. Olărescu designer of the exhibition: assist.prof. Ioan Muscu Workshop and Research Project “People, craft and tradition” / 13th–20th May – Târgu Lăpuş – with 33 students of the three Universities (NDU) Sankt Pölten, (UTBv) Brasov, (UAUIM) Bucharest and Liceul Teoretic ”Petru Rareș” and Liceul Tehnologic ”Grigore C. Moisil” Târgu Lăpuș concept and teaching: Univ.-Doz. Dr. Thomas Gronegger (NDU), assist.prof. Alin Olărescu. prof. Marina Cionca, (UTBv), teaching: Prof. Florin Nechita (UTBv), dr. Biborka Bartha (UTBv), lect.drd. Mihaela Șchiopu (UAUIM), Benedikt Dekan MA (NDU), Leonie Kohut (NDU).

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participating teachers of the liceul teoretic ”petru rareș” târgu lăpuș: Florina Ciupe, Claudiu Nedea, Mariana Melania Pop (LTPR) participating teachers of the liceul tehnologic ”grigore c. moisil” târgu lăpuș (ltgm) Anamaria Susana Şanta, Marta Cosma, Dorin Vaida

2017

Exhibition “People, craft and tradition” / 29th–30th July – The 45th National Scientific Session Paper "Stroeşti - Argeş", under the auspice of Romanian Committee of History and Philosophies of Science and Technique of Romanian Academy; at Stroeşti - Argeş: Presentation of the models, plans, drawings and photographic documentation of the workshop “People, Craft and tradition” 2017 in the Community Hall of Stroeşti - Argeş. curator of the exhibition: assist. prof. Alin Olărescu designer of the exhibition: assist. prof. Alin Olărescu Exhibition “People, craft and tradition” / 13th–17th September – The International Furniture and Accessories Fair BIFE – SIM 2017 at Romexpo Hall, Bucharest. curator of the exhibition: assist. prof. Alin Olărescu designer of the exhibition: assist. prof. Ioan Muscu Exhibition “People, craft and tradition” / 16th–19th November – Etnovember 2017 Festival at Brașov: Presentation of the models, plans, drawings and photographic documentation of the workshop “The Poetry of Wooden Environment” 2017 in the Aula of the Transilvania University. curators of the exhibition: Univ.-Doz. Dr. Thomas Gronegger, assist.prof. Alin Olărescu, prof. Marina Cionca designer of the exhibition: assist.prof. Ioan Muscu

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05

PUBLICATIONS IN RELATION TO THE RESEARCH PROJECT

… of the New Design University, St. Pölten (AT), Faculty of Design – Departement of Interior Architecture, the Transilvania University of Brașov (RO), Faculty of Wood Engineering – Wood Technology Department and the University of Architecture and Urbanism Ion Mincu, Bucharest (RO), Faculty of Interior Architecture

2012

Publication „Window & Wall“ Window and Wall Inside Outside / Insight New Design University 2012 ISBN 978-3-9503515-0-7 Editorial team: Marina Cionca, Thomas Gronegger, Christian Knechtl, Marius Marcu-Lapadat

2014

Publication „Inside, Outside, in-Between I/II“ „Inside, Outside, in-Between I/II“ Working with a Village New Design University 2014 ISBN 978-3-9503515-1-4 Editorial team: Marina Cionca, Thomas Gronegger, Alin M. Olărescu, Marius Marcu-Lapadat 2nd the final list of the Nonfiction category (from 233 entries in 5 categories) for The Most Beautiful Books of Romania 2015, a nationwide competition of book design organized by the Romanian Association of Performance and Culture, http://arhiva. celemaifrumoasecarti.ro/rezultate-concurs-cele-mai-frumoasecarti/lista-finalisti-2015/%C2%A0

2018

Publication “Thinking about Rural and Local Spirit“ Thinking about Rural and Local Spirit Seven Years of Design and Crafts Based Research on Site New Design University 2018 ISBN 978-3-200-05548-3 ISBN 978-606-19-0925-4 Editorial team: Thomas Gronegger, Alin M. Olărescu, Marina Cionca, Biborka Bartha, Florin Nechita

Contributions of teachers in relation to the research project OLĂRESCU Alin M., BARTHA Biborka, CIONCA Marina, GRONEGGER Thomas OLĂRESCU Alin M.: Tradiția spațiului rural construit. Argeş şi Muscel. Editura Universității Transilvania din Braşov, Braşov, 2012 OLĂRESCU Alin M., BARTHA Biborka, DEÁK, Andrea: Material utilisation patterns in historical – social context regarding the rural built environment of the Subcarpathian area, Romania. In ProLigno, Vol. 11, No. 4, pp. 580–587, www.proligno.ro, 2015

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OLĂRESCU Alin M.: Evoluția gospodăriei rurale de pe Valea Vâlsanului, Județul Argeş. În: NOEMA, Comitetul Român de Istoria şi Filosofia Ştiinței şi Tehnicii al Academiei Române, Vol. XI, Editura Mega, Cluj-Napoca, pp. 331–341, 2012 OLĂRESCU Alin M.: Stroeşti – Argeş: rituri de construcție. În: Şoptana, Societatea Cultural – Ştiințifică „Stroeşti – Argeş”, An V, nr. 3 (17), septembrie, p. 1–3, 2010 OLĂRESCU Alin M.: Cultura tradițională a spațiului rural construit: Argeş şi Muscel. În: Şoptana, Societatea Cultural – Ştiințifică „Stroeşti – Argeş”, An VIII, nr. 1 (27), martie, p. 1–4, 2013 OLĂRESCU Alin M.: Tinda, prispa, pridvorul – elemente definitorii ale spațiului intermediar construit. În: Şoptana, Societatea Cultural – Ştiințifică „Stroeşti – Argeş”, An VIII, nr. 3 (29), septembrie, p. 1–2, 2013 OLĂRESCU Alin M.: Câteva considerații asupra culturii meşteşugului în contextul actual. În: Şoptana, Societatea Cultural – Ştiințifică „Stroeşti – Argeş”, An VIII, nr. 4 (30), decembrie, p. 1–2, 2013 BARTHA Biborka: Methodical Approach of Value-Adding Vernacular Characteristics in the Process of Contemporary Architectural and Furniture Design. Doctoral Thesis, Transilvania University of Brasov, 2015 OLĂRESCU Alin M. Intervenții în spațiul rural: Stroeşti – Argeş / Dealu Frumos – Sibiu / Riópar – Spania. În: Şoptana, Societatea Cultural – Ştiințifică „Stroeşti – Argeş”, An X, nr. 1–2 (35–36), martie – iunie, p. 1–3, 2015 OLĂRESCU Alin M.: Schimbarea paradigmei rurale. În: Şoptana, Societatea Cultural – Ştiințifică „Stroeşti – Argeş”, An X, nr. 1–2 (35–36), martie – iunie, p. 15–29, 2015 BARTHA Biborka, CIONCA Marina: Utilization and Furnishing Patterns of Vernacular Housing of Rasinari Village, Sibiu County, Romania In: ProLigno, Vol. 11, No. 4, pp. 636–645, www.proligno.ro, 2015 BARTHA Biborka, OLĂRESCU, Alin M.: Guide for value-adding contemporary architecture and furniture design in vernacular spirit. In: ProLigno, Vol. 13, No. 4, pp. 471–481, www.proligno.ro, 2017 OLĂRESCU Alin M.: Proiectul Design and Research Project People, Craft and Tradition. În: Şoptana, Societatea Cultural – Ştiințifică „Stroeşti – Argeş”, An XII, nr. 1–2 (43–44), martie – iunie, p. 1 – 3, 2017

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OLĂRESCU Alin M., GRONEGGER Thomas, BARTHA Biborka, CIONCA Marina, MUSCU Ioan: Non-formal education in design field. In: Procceding of Ninth Scientific and Technical Conference: Innovations in forest industry and engineering design INNO, University of Forestry, Sofia Bulgaria, pp. 299–307, 2018 GRONEGGER, Thomas:„A Small Essay on Drawings“, in IWCSE 2007 Proceedings of the international Conference „Wood Science and Engeneering in the Third Millenium“: Transilvania University of Basov. S. 387–391 GRONEGGER, Thomas: Natürliches Licht, Raum, Medium. In: Denkmalflege in Niederösterreich Band 53, S. 15–19. Hrsg. und Verleger: Amt der Niederösterreichischen Landesregierung 2016.

GRONEGGER, Thomas 2016. Dörfliches und Ländliches. Qualitäten des Einfachen. In: Denkmalflege in Niederösterreich Band 57, S. 12–17. Hrsg. und Verleger: Amt der Niederösterreichischen Landesregierung 2017.

GRONEGGER, Thomas: Hände, Sinne, Bewegung, Dinge … und Ort. Zur unüberholbaren Langsamkeit der Hand. In: Practice-based Research: In Manual & Material Culture. S. 32–43. Hrsg. Moritsch, Pitsuk-Christof. 2018.

Bachelor's theses of students in relation to the research project FELLNER, Elisabeth: DEALU FRUMOS – in common. NDU 2013 DEKAN, Benedikt: DEALU FRUMOS – Re:source (from a village to a place of learning). NDU 2013 KOHUT, Leonie: DEALU FRUMOS: Erkennen und Wahrnehmen kultureller Strukturen und sinnvolle Entwicklungen. NDU 2017 REISENBERGER, Moritz: DEALU FRUMOS: Erhalten und Beleben von Kulturgut – unterschätzte Potentiale. NDU 2017

Background Literature

Literature which was of great intellectual influence for our work, although it was neither used directly for quotes, nor summarized and integrated in the texts.

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BOGDANOVIC, Bogdan: Der verdammte Baumeister. Paul Zsolnay Verlag Wien, 1997 BOLLNOW, Otto Friedrich: Mensch und Raum. Verlag W. Kohlhammer Stuttgart, 1963 / 11. Auflage 2010 CAMINADA, Gion A.: Orte Schaffen X – XVI, ETH Zürich DARCH Departement Architektur ALEXANDER, Christopher: Eine Muster-Sprache. A Pattern Language. Städte Gebäude Konstruktion. Löcker Verlag Wien. 2011 PAPST FRANZISKUS: Laudato si’. ENZYKLIKA Über die Sorge für das gemeinsame Haus. St. Benno Verlag GmbH, Leipzig 2015 LEONĂCHESCU, Nicolae: Premise istorice ale tehnicii moderne româneşti.

Editura AGIR, Bucureşti 2007 ELIADE, Mircea: Meşterul Manole. Studii de etnologie şi mitologie. Antologie.

Editura Eikon, Cluj – Napoca 2007

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