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About the team

Set up in 2000 by architects Cosmina Goagea, Constantin Goagea and Č˜tefan Ghenciulescu, Zeppelin team edits a monthly review, organizes conferences, work‑ shops, exhibitions, competitions dedicated to architecture and urban planning, carries out publishing projects, research in architecture, urban planning and other creative industries. For over 10 years since they work together, the missions of this team went around the issues of Romanian urban transition. In their work, it was both vital to promote examples of best professional practice, the involvement in projects of coherent development of the city, active stimulation of critical reflection in the area of architecture and design, support of innovation and ongoing learning, as well as the set up of international professional networks. Through specific projects and cultural interventions, the Zeppelin team aimed to involve professionals from various areas, as well as local communities, in a series of recovering, raising awareness of cultural heritage resources, the value of certain urban situations and the design of certain genuine public spaces in the city. Another type of projects initiated by Zeppelin Association consists of studies and analyses of the Romanian urban phenomenon in the regional context, and interna‑ tional promotion of the development potential of the Romanian cities.

Zeppelin magazine

This international architecture and urban culture magazine is an editorially and financially independent publication, managed by the Zeppelin Association. The magazine publishes 10 issues / year, with both Romanian and international mate‑ rials (with texts in Romanian and English), with a strong emphasis on the region (Central and South‑Eastern Europe) and on young architects, social and sustain‑ able architecture, innovation, creative use of low budgets and critical attitudes.

2012 2010

Zeppelin evenings

Zeppelin evenings are a series of conferences dedicated to architecture, design and urban culture, an education and communication project launched in early 2008. Starting with 2011, the event takes places each month in the Aula of “Charles I” Central University Library. This open platform accumulated, in 39 editions (April 2012) to over 10,000 participants and regularly proposed meetings with archi‑ tects, designers and artists all over the world. The project of Zeppelin evenings means an open scene for art and intellectual interaction. The topic of that interaction is always the city, architecture, urbanity, but in a transcultural perspective, with mixes of ideas and content, fertile and original. The aim of the evenings is to support cultural practice based on dialogue, cooperation and interdisciplinary. sO far, meetings with: Miklos Pétterfy, Lazlo Benczur (Budapest), Eugen Pănescu, Michael Buck, Pero Pulij (Amsterdam), Juan Trias de Bes (Barcelona), Angelo Roventa (Vienna), Mihaela Kavdanska, Șerban Sturdza, Riychi Miyake, Yasushiro Yamashita, (Tokyo), Kim Attila, Ada Diaconu, Tiberiu Bucșa, Mihai Ţucă, Radu Comșa, Justin Baroncea, Raymond Bobar, Dorin Ștefan, Alex Axinte, Cristi Borcan, Andrei Șerbescu, Cosmin Pavel, Adriana Mereuţă, Kai Voekler (Berlin), Michael Obrist (Vienna), Ivan Kucina (Belgrade), Marko Sancanin (Croatia), Wilfried Hackenbroich (Germany), Iulia and Florian Stenciu, Cristina Sabău, Nanne de Ru (the Netherlands), Lukasz Zagala (Poland), Oana Bogdan (Belgium), Irina Băncescu, Teodor Octavian Gheorghiu, Șerban Ţigănaș, Cristian Corvin, Dragoș Oprea, Johannes Bertleff, Eike Roswag (Berlin), Remus Hârșan, Karoly Nemeș, Crina Popescu, Dragoș Perju, Mario Kuibuș, Matthew Hilton (London), Adrian Soare, Eliza Yokina, Petruţ Călinescu, Roger Pop, Alex Adam, Masahiro Harada, Ryuichi Ashizawa, Yoshihide Kobanawa (Japan) and Robert Marin. www.zeppelin‑


Organizer: Zeppelin team Partners: Kludi, Siemens, Final Distribution, Dulux, Knauf Insulation, Brikston, Velux, Roca, Rockwool, Gealan, Resido, Fakro, Lafarge, Qbiss by Trimo, Saint Gobain Glass, Semmelrock Stein + Design, Holcim, Reynaers, Eclisse, Geberit, Legrand, Bel Profile, Alukonigstahl, Piscine Laghetto, Grohe, Geplast, FSB, Hulsta studio, Egger, Sika, Unilem, Berndorf, Arabesque, Glass Expert, Rigips, Kasta, Trends & Ideas, Kult!, Sensio, Whirlpool, AGC, Radox Cu sPrijinul: Asia – Europe Foundation, Romanian Cultural Institute through Cantemir Programme, ERSTE Stiftung, Union of Romanian Architects, Austrian Cultural Forum, Rehau, Baumax, Wienerberger and Porotherm, Romanian Commercial Bank, Pavilion UNICREDIT, National Museum of Contemporary Art, Embassy of the Netherlands in Romania, French Institute, “Carol I” University Central Library, Intro

Urban activation in Romania


Exhibition / 2.11.2011–10.01.2012, National Museum of Contemporary Art

The project proposed a study of the recent independent initiatives in Romania and a selection of 14 projects which may be seen as effective models of action and restoration – of abandoned spaces, of the identity of a place, of good tech‑ niques and habits, of the relationship with the world, promoting thus a culture of the urban civic activism. Interventions in the public spaces with the participation of the local community, conversions and restored places or constructions out of use, urban cultural re‑activations through architectural, art or urban design were highlighted. At the same time, personal strategies and viable models for the social integration and the accountability of certain groups, setting up communities or partnerships formulae were identified. The project brought together the energies, experiences, feelings, questions and perspectives of people who understood that the fate of the place they live in depends on them. The exhibition had over 2,500 visitors, out of which 400 were present at the opening.

Organizer: Zeppelin Association Partenrs: Order of Romanian Architects, Administration of National Cultural Heritage, ERSTE Stiftung, Archis Interventions SEE, National Museum of Contemporary Art, Lafarge

Urban Report


Platform is a research project dedicated to the contemporary urban phenomenon in 4 countries affected by different kinds of transitions, yet equally impossible to predict: Romania, Bulgaria, Serbia and Hungary. What condi‑ tions and fantasies allowed the chaotic development of the past 10 years, what emotions and nostalgia activate us, to what extent we are tributary to a commu‑ nist or capitalist symbolic imaginary and other clichés are to be discovered in the Urban Report project.

urban rePOrt team: Ivan Kucina, Todor Atanasov, Peter Torniov, Miklós Péterffy, Samu Szemerey, Ștefan Ghenciulescu, Cosmina Goagea, Constantin Goagea / BINA, SAW, ZEPPELIN, KEK, Transformatori suPPOrted by: Romanian Cultural Institute through Cantemir Programme, Administration of National Cultural Heritage, Union of Romanian Architects (based on the funding from the architecture stamp tax)

Urban Report #1 The Poetics of Transition on the Run

Modernity / anti‑modernity In this first volume of Urban Report, the navigation through the poetics of tran‑ sition prioritizes the conflict generated by a world of modernity brutally arrived upon us. As shown in this first study, the forces that bring modernity in our cities are culturally ingenuous, violent but determined, therefore causing equally good things, but also chaos, ugliness and corruption. What conditions and fantasies allowed the chaotic development of the past 20 years, so often similar in those 4 countries? What emotions and nostalgia move both them and us? To what extent we are tributary to a communist or, on the contrary, capitalist symbolic imaginary and other themes and clichés are to be discovered in detail this project of collabo‑ ration developed by Zeppelin team.


Urban Report #2


The Conditions of Self‑Regulated Urbanity

Community and individuality One of the most sensitive problems of post‑socialism was abandoning any community‑oriented urban management. Neurotic reactions are spontaneously produced to escape from any form of urban regulation, a protest against the idea of a unique destiny a city can create equally to all its inhabitants. This phenom‑ enon is accompanied by an explosion of individuality as a form of expression of freedom; giant energies are forced to find their own dynamic. By understanding this live process, always influenced by many factors, Volume 2 of Urban Report tries to imagine the future of Eastern cities beyond stereotypes, from a positive perspective: turning weaknesses into opportunities.


Urban Report #3


The Pioneers of Emergent Practices

Representation and identity, globalization of production and creative resources, costs and migratory patterns As we are clarified in the meantime that there is no transition and this part of Europe is unlikely to be comparable to its Western part ever, we invite you to this third volume of adventure called Urban Report, dedicated to pioneers of architec‑ tural practices drawn from these times and places. Pioneers in the practices that are not certified and non‑patented. However, something heroic and beautiful, entirely dignified, shows itself every time such a project manages to transform the world around. These are small projects, temporary, fragile, but their multiplication and energy they emit build hope that something is changing for the better. Yes, this is a dedicated number of rebellious ideas, some people, which have no choice and must be explorers, innovators, pioneers into the unknown.


Urban Report Conferences / 05–12.2011, Belgrade, Budapest, Sofia

The first conference at the launch of the #1 Urban Report volume part of the Belgrade International Architecture Week took place on 11 May 2011. The event, hosted by Belgrade City Museum, covered a presentation of the platform and programme delivered by Constantin Goagea, a conference on the Serbian contribu‑ tion and its relevance in the project delivered by Ivan Kucina and two screenings (Looking for Oktober and Balkanized Deutsche Bank). The next event, taking place on 5 November 2011 part of Sofia Architecture Wee, was at the Peform Business Canter: a project presentation (topics, network, correspondents) and of #2 Urban Report volume, delivered by Ștefan Ghenciulescu, and “The Limits of the Balkans” round table. The third event took place at Ludwig Museum of Contemporary Art in Budapest on 2 December 2011, and included the following presentations: Miklos Peterffy about the project, topics and Urban Report network, Constantin Goagea about #3 volume (“Pioneers of emerging practices”; examples of urban practice and activation in the 4 partici‑ pating countries in the project), Janos Vagi – Go Vorosto, a project of community building, Samu Szemerey – about the Yona Friedman exhibition open at Ludwig Museum, in connection with Urban Report topics, and a free debate, moderated by Samu Szemerey, on the transition and its meaning in the Balkans.


Guided tours through industrial architecture


25–26.11.2011, Bucharest, South‑West

Section of the Heritage as a resource programme, the project proposed – as a dedicated pilot project mainly to architects, members of organizations and civil society – to visit seven industrial ensembles in the capital: Filaret Factory, Wolff‑Hesper Factory, Matches Factory, Astronomic Observer, the Stamp Factory, Bragadiru Palace and Factory, Customs Warehouse – the Ark. In two busy days, two guided tours were organized, with the information provided by the members of Association for Industrial Archaeology. The participants had the opportunity to explore a spectacular and hardly accessible (or not at all). In those visits, accom‑ panied by sandwiches and hot tea, the issues and the potential of the industrial heritage was debated, possible strategies and regeneration actions, examples of urban identities created on the recently industrial past and perspectives for a cultural rebranding of the capital.

Organizers: Zeppelin Association, Association for Industrial Architecture in Romania suPPOrted by: Order of Romanian Architects, Administration of National Cultural Heritage, ERSTE Stiftung, Archis Interventions SEE, National Museum of Contemporary Art, Lafarge

City. Money. Architecture.


Conference/ debate / 16.12.2011, National Museum of Contemporary Art

Almost 6 hours into a marathon, structured in two sessions of conferences followed by one debate. The debate brought together architects, urban planners and expert economists from Romania, the Netherlands and Germany who explored study cases, failure or success scenarios for urban development, formulae to increase the attractiveness of cities for locals and investors, opportunities and solutions for new urban projects. How could our cities be more attractive to their locals and to investments? Who and in what way could implement new projects, how could working partnerships be set up, in what conditions and how could funding for all those be attracted? The debate focused on establishing principles and action strategies to find development resources for Romanian cities and archi‑ tecture. The programme was structured in such a way to facilitate the interaction of partners and build cooperation bridges among various partners. Also, the focus went on improving the dialogue with the public administration. The following participated in the first session: Gheorghe Pătrașcu – head archi‑ tect of Bucharest city hall, Șerban Ţigănaș – president of the Order of Romanian Architects, Anca Ginavar – general director Regional Development – Ministry of Regional Development and Tourism, Piet Van Ruler – senior partner for urban development Twynstra Gudde, Olanda and Liviu Ianăși – lecturer at the department of urban planning and regional planning, “Ion Mincu” University of Architecture and Urban Planning. This session included presentations having a starting point in defining the role of architecture in urban development or introducing current topics: what makes Romanian cities (still) beautiful, what areas and kind of projects are worth being prioritized for the Romanian cities to be more accessible and more competitive, what types of partnerships may generate new programmes meant to improve truly the projects of architecture, certain areas or the city. The second session included Damo Holt – director for estate counselling ECORYS Research & Consulting, Olanda, Ellen van der Lei – expert urban development fund European Investment Bank, Luxembourg, Sorina Racoviceanu – director Institute for Housing and Urban Development Studies, Romania and Eugen Pănescu – archi‑ tect Planwerk, partner. The debates had consistent interventions from Nicușor Dan – president of Save Bucharest, and architects Teodor Frolu and Cătălin Berescu. The event was moderated by Kai Voeckler – programme director at Archis Interventions and Joep de Roo – director Eurodite. The second part generated more questions and answers around major issues: how and why investments are made in Romania, what are the conditions to attract and absorb funding (from the European to the private ones), how could more part‑ ners and investors be attracted into an urban project, the investments agencies and main planning had good results in many countries and cities, but this formula is almost unknown in Romania. The films of the conference are available at:

Organizers: Zeppelin Association, DISC (Dutch Initiative for Sustainable Cities), NAi (Netherland Architecture Institute, Rotterdam) and Archis Interventions Partner: Union of Architects in Romania suPPOrted by: Administration of National Cultural Heritage, ERSTE Stiftung, the Netherlands Embassy, NAi – Netherlands Architecture Institute, Archis Interventions SEE, DISC – Dutch Initiative for Sustainable Cities, National Museum of Contemporary Art, Ministry of Regional Development and Tourism, Lafarge, Sensio, Geplast, Armstrong


Echipa zeppelin


Nicolae Ivan

Riscăm ca resursele urbane încă existente să se consume ineficient, deteriorând calitatea vieţii locuitorilor. The still remaining urban resources risk to be consumed ineffectively and by damaging the quality of life.

În 16 decembrie, Muzeul Naţional de Artă Contemporană a găzduit, ca finală de gală, cel mai viu și mai așteptat moment al Festivalui Zeppelin: conferinţa și super-dezbaterea internaţională „City. Money. Architecture“, moderată de Kai Vöckler, director de program Archis Interventions și Joep de Roo, director Eurodite București. Vă prezentăm acum cele mai importante idei reliefate în prima sesiune, la care-au participat Gheorghe Pătrașcu, arhitect-șef al capitalei, Şerban Ţigănaș, președinte OAR, Anca Ginavar, director în Ministerul Dezvoltarii Regionale și Turismului, Piet van Ruler, senior partner Twynstra Gudde - Olanda, și Liviu Ianăși, lector universitar la UAUIM București. CONFERINŢA În deschidere, Gheorghe Pătrașcu a anunţat că e în curs de finalizare Conceptul Strategic București 2035 și a prezentat un scurt diagnostic: dinamica orașului a fost incoerentă, fără viziune pe termen lung, generând dezechilibre sociale și neglijând calitatea vieţii. Capitala ar trebui reinventată inteligent și sensibil prin patru direcţii strategice: instituirea Zonei Metropolitane București, revitalizarea sistemului de poli teritoriali, dezvoltarea infrastructurii și valorificarea patrimoniului. Dintre proiectele majore anterioare care au eșuat, a insistat asupra operaţiunii Esplanada, investiţie de 1 miliard de euro ce urma să asigure capitalei un nou pol economic și cultural dar care a fost blocată de indecizia guvernamentală.


Arhitectul devine tot mai mult un mediator. The architect increasingly becomes a mediator.

On 16th of December, the National Contemporary Art Museum was the host of a final gala, to the most expected moment of Zeppelin Festival: the conference and international debate “City. Money. Architecture” moderated by Kai Vöckler, Programme Director at Archis Interventions and Joep de Roo, Director Eurodite Bucharest. We now have the pleasure to present the key ideas discussed in the first session, with Gheorghe Pătrașcu, Head Architect of the capital, Şerban Ţigănaș, President of the Romanian Order of Architects, Anca Ginavar, Director in the Ministry of Regional Development and Tourism, Piet van Ruler, Senior Partner Twynstra Gudde, the Netherlands, and Liviu Ianăși, Lecturer at the “Ion Mincu” University for Architecture and Urban Planning Bucharest. CONFERENCE Gheorghe Pătrașcu announced in the opening that the Strategic Concept Bucharest 2035 is almost complete, and presented a short diagnostic: the dynamics of the city was incoherent, with no long term vision, producing social imbalance and neglecting the quality of life. The capital should be intelligently and sensitively reinvented via four strategic directions: setting a Metropolitan Bucharest Zone, reviving the territorial markers, developing infrastructure and valorising the heritage. Out of the former major project failing, he insisted on the Esplanada operation, a 1 billion euro investment meant to provide the capital with a new economic and cultural marker, but which was blocked by governmental indecision. Architecture is to the city what words are to poetry, and to separate them is a serious mistake, Şerban Ţigănaș declared. Mentioning the events leading to the set

Arhitectura este pentru oraș ce sunt cuvintele pentru poezie, a le separa e o gravă eroare, a apreciat Şerban Ţigănaș. Evocând împrejurările care-au stat la fondarea grupului Planwerk acum 9 ani, cea mai gravă ţinea de constatarea că-n România sunt milioane de metri pătraţi de spaţiu public neîngrijit. Lucrurile nu s-au schimbat prea mult. Printre cauzele care-au „asigurat” eșecul unor iniţiative majore pentru zone problematice din Cluj, Brașov, Sibiu și București a amintit pasivitatea, predilecţia pentru speculă și lipsa colaborării instituţionale. Anca Ginavar a amintit că Guvernul dorește un restart pentru proiectul Esplanada, dar așa-numita indecizie guvernamentală e legată de inexistenţa unui suport legal: un proiect comercial nu poate fi sprijinit prin ordonanţă guvernamentală. În plus, 60% din acel teren e în proprietatea unor locuitori care-și cer drepturile. Cea mai consistentă parte a fost dedicată prezentării unui proiect guvernamental de regenerare a fostelor situri militare, ECO City Antiaeriană, pentru care există și perspective de finanţare europeană. Piet van Ruler a vorbit despre ampla experienţă a Olandei în domeniul planificării și proiectelor de parteneriat public-privat. Dar toate modelele pe care le avem acum sunt vechi, noile cerinţe sunt exact la polul opus, oferta întrece cererea, iniţiativa de planificare aparţine acum utilizatorilor în coaliţie cu investitorii. Apar noi modele de dezvoltare urbană, iar valoarea economică este mai mare decât valoarea imobiliară. Punctul cheie e să-i găsești pe cei care au aceleași interese și valori ca și tine. Ca studiu de caz a prezentat proiectul Bloomin'Holland, un veritabil succes economic și comunitar. Liviu Ianăși a apreciat că în povestea de dragoste dintre bani și oraș, arhitectura este afrodisiacul: în contextul globalizării, competiţiei urbane și-al erei imaginii, atât investitorii cât și locuitorii trebuie seduși - cu spaţii urbane, calitate și peisaje. Un exemplu foarte bun ar fi Copehnaga, de unde și termenul de „copenhagenizare” pentru o anumită politică privind calitatea vieţii, imaginea orașului, peisajul etc. Arhitectura bună nu poate fi făcută de arhitecţi slabi, însă de multe ori, din nefericire, arhitecţii buni fac arhitectură urbană proastă. DEZBATEREA Kai Voeckler a deschis prima sesiune a dezbaterilor enunţând două întrebări importante: cum poate fi organizat procesul de dezvoltare a orașului astfel încât interesele publice și cele private să fie într-un bun echilibru? Şi care mai este rolul arhitectului în acest proces, devine el un mediator?

Uitaţi-vă în jur și vedeţi dacă puteţi afla nevoi cărora vreţi să le răspundeţi prin dezvoltarea acelui loc. Treceţi de la specificaţii interne la cele externe. Look around and see if you can find out needs to whom you may respond by developing a place. Swich from internal to external specs.

Există o anumită teamă de complexitate din partea sectorului public, care încearcă să simplifice totul: proiect și construcţie la pachet. Nu poţi separa arhitectura de planificare, asta a fost una dintre cele mai mari erori din acești ani. Separating architecture from planning was one of the biggest mistakes from these years.

There’s in the public sector a certain fear of complexity; they try to simplify everything – therefore all these designand-build contracts.



up of Planwerk office, 9 years ago, the worst referred to the observation that there are millions of neglected public space square metres. Things have not changed substantially since then. Among causes “backing” the failure of major initiatives for difficult areas in Cluj, Brașov, Sibiu and Bucharest, he cited passiveness, the inclination to illegal business and the lack of institutional cooperation. Anca Ginavar stated that the Government aims to restart Esplanada project, but the so-called governmental indecision is connected to the inexistence of a legal issue: a commercial project cannot be supported through a governmental decision. In addition, 60% of the area is the property of people who ask for their rights. The most consistent part of her presentation was devoted to showing a governmental regeneration project for the former military sites, ECO Antiaeriana City, for which there are opportunities of European funding. Piet van Ruler talked about the wide Dutch experience in the area of planning and the public-private partnership projects. As the models we have are rather outdated, the new requirements are at the other extreme, the offer exceeds the demand, and the planning initiative is now in the hands of users in coalition with investors. New models of urban development emerge, and the economic value is higher than the real estate one. The key is to find those with similar interests and values as you. The study case referred to Bloomin’ Holland, a genuine economic and community success.

Proiectele cheie pot atrage investitori și pot da identitate globală. Key-projects can attract investors and give a global identity.






DVD City. Money. Architecture.


Discussion synthesis and film of the event An international conference‑debate on the architecture as a political act into an economy based on cultural values, to which were invited: architects, urban plan‑ ners, urban development experts, experienced practitioners in interventions in difficult contexts, city‑managers and government representatives, various urban policy specialists, economists, NGOs active in the field.


Echipa zeppelin


Nicolae Ivan

Nu trebuie să ai în vedere doar dezvoltarea economică, ci și spaţiul public, programele sociale și educative etc. Deci e vorba despre hardware, software, orgware și mindware.

One should not consider just economic development, but also public space, social and education programs etc. So, it’s about hardware, orgware, and mindware.

DamO HOlt

În ediţia anterioară, v-am prezentat cele mai importante idei reliefate în prima sesiune a conferinţei și dezbaterii internaţionale „City. Money. Architecture“, eveniment găzduit de Muzeul Naţional de Artă Contemporană și moderat de Kai Vöckler, director de program Archis Interventions, și de Joep de Roo, director Eurodite București. Iată acum sinteza celei de-a doua sesiuni, la care au participat: Damo Holt (director departament de consultanţă imobiliară ECORYS, Olanda), Ellen van der Lei (expert European Investment Bank), Sorina Racoviceanu (director IHS - Institute for Housing and Urban Development Studies Romania) și Eugen Pănescu (arhitect partener Planwerk). CONFERINŢA Damo Holt a deschis sesiunea cu un mesaj-cheie: „cum să duci lucrurile la bun sfârșit”. Secretul proiectelor de succes ţine de ceea ce el a numit arta combinării: a finanţărilor publice cu cele private, a funcţiilor, responsabilităţilor, costurilor și intereselor părţilor implicate. Pentru asta e nevoie de parteneriate și de îndemânare. Studiu de caz selectat este „noul Eindhoven”, acum aflat în topul celor mai inovative regiuni, dar care cu 20 de ani în urmă era într-o situaţie comparabilă cu multe orașe românești. După ce două mari corporaţii și-au relocat sediile în orașul competitor, a fost creată o agenţie de dezvoltare regională prin care sectorul public a început să colaboreze cu cel privat: s-au creat parteneriate, s-au organizat și au reușit să creeze un nou pol economic.

In our previous number we presented the key ideas discussed during the first session of the international conference and debate “City. Money. Architecture”, an event hosted by the National Museum of Contemporary Art and moderated by Kai Vöckler – Programme Director at Archis Interventions and Joep de Roo – Director of Eurodite Bucuresti. We now present a synthesis of the second session, which enjoyed the participation of Damo Holt (Director of the Real Estate Consultancy Department of ECORYS, the Netherlands), Ellen van der Lei (expert working for the European Investment Bank), Sorina Racoviceanu (Director of IHS – Institute for Housing and Urban Development Studies Romania) and Eugen Panescu (Architect Partner Planwerk). THE CONFERENCE Damo Holt opened the session with an important message: “how to get things done”. The secret of successful projects consists in what he called the art of combining: that is the art of combining public and private financing, as well as the positions, responsibilities, costs and interests of the interested parties. This requires skills and partnerships. “The new Eindhoven” is a case study in point, as this is one of the most innovative regions, which 20 years ago was in a state similar to that of many Romanian towns. After two big corporations relocated their headquarters in the competitor city, a regional development agency was established through which the public sector started to collaborate with the private one: partnerships were concluded and organized and a new economic hub was thus created. Ellen van der Lei presented the European Programme Jessica for sustainable urban investments. She has been recently involved in the preparation of a study

Ellen van der Lei a prezentat programul european Jessica pentru investiţii urbane durabile. Recent, a fost implicată în elaborarea unui studiu pentru implementarea programului în regiunea Brașov, care însă a fost declinat, în cele din urmă, de Ministerul Dezvoltării. Formula propusă prin acest program este înlocuirea sistemului de fonduri disponibile cu un sistem de investiţii, un bun vehicul pentru parteneriate public-privat în proiecte de infrastructură sau transport public urban, clădiri culturale etc. În multe ţări europene, programul e deja implementat foarte bine, inclusiv în Bulgaria sau Polonia unde e susţinută astfel dezvoltarea unor orașe din regiunea Wielkopolska. Speră ca în viitor și România să se descurce mai bine. Sorina Racoviceanu a vorbit despre competiţia orașelor și city marketing, concepte pe care le-a avut în vedere și când a colaborat la elaborarea strategiei Capitalei. Competiţia ţine atât de alegerile oamenilor privind locul unde-și vor petrece vacanţele sau unde se vor retrage după pensionare, cât și de locul unde-și vor localiza afacerile. La nivel global, 2.259 de orașe se luptă pentru un număr restrâns de companii: 9.423 dintre acestea asigură peste 50% din produsul intern brut global. Pentru a fi mai competitiv, un oraș trebuie să fie mai productiv, să atragă oameni și companii, și să fie pe măsura așteptărilor lor; să fie înţeleasă cererea globală și locală, să fie evaluate corect oferta și atuurile orașului (într-un sistem competiţional cu alte orașe) și să se elaboreze o strategie de branding și promovare. Eugen Pănescu a continuat, întrebând cum pot deveni orașele mai competitive cu ajutorul planurilor urbanistice. A oferit ca exemplu orașul Cluj, pentru care Palnwerk lucrează de un deceniu. Iniţial, o muncă de pionierat – au început prin a oferi și dezbate public diverse idei, care se dovedesc a fi valabile și astăzi. Pe de altă parte, planul urbanistic oficial urmase ideea că orașul trebuie dezvoltat într-o zonă relativ restrânsă, scenariu care s-a dovedit între timp eronat: după un deceniu de dezvoltare haotică, jumătate din oraș are nevoie de o nouă planificare și restructurare. Este momentul pentru o chemare la acţiune. Formulele de parteneriat trebuie testate, pentru că suntem la început și nu avem încă un exemplu de bună practică.

Când un proiect este relevant, cresc șansele ca investitorii să se implice. There are more chances for investors to get involved in relevant projects.

EllEn van DER lEi

Întrebarea-cheie: la ce se uită investitorii, de ce ar investi ei în orașele din România și ce caută de fapt? A key question: What would investors look at? Why should anyone invest in Romanian cities and what will they search for?

DamO HOlt

Investitorii instituţionali, companiile instituţionale și agenţiile devin din ce în ce mai interesate de sistemul de finanţare urbană.

for the programme implementation in Brasov, which was eventually rejected by the Ministry of Development. The formula proposed by this programme presupposes the replacement of the system of available funds with an investment system, which is a handy opportunity for public-private partnerships for infrastructure projects, urban public transportation, cultural buildings etc. In many European countries the programme has already been successfully implemented, including Bulgaria or Poland where it supports the development of several cities in the Wielkopolska region. She hopes that Romania will do better in the future, too. Sorina Racoviceanu talked about the competition of the cities and about city marketing, concepts which have also been considered when she collaborated with the authorities for the preparation of a strategy for the capital. Competition is involved when it comes to people’s choices about the place where they want to spend their holidays or to retire, as well as the place where they will locate their business. At the global level, 2,259 cities compete for a limited number of companies: 9,423 of them ensure over 50% of the global gross internal product. In order to be more competitive, a city has to be more productive, to attract people and companies and to meet their expectations; to have a good understanding of the global and local demand, to accurately evaluate its supply and strong points (in the framework of a competition based system with other cities) and to prepare a branding and promotion strategy. Eugen Panescu continued this topic by asking how cities can become more competitive based on their urban plans. He gave as an example the city of Cluj for which Palnwerk has been working for a decade. Initially they performed pioneering work – they started to offer and subject to public debates a series of ideas which continue to be valid even today. On the other hand, the official urban plan had been designed based on the idea that the city was to develop in a relatively small area, a scenario which in time proved to be wrong: after a decade of chaotic development, half of the city needs new planning and restructuring. It is time for a call to action. The partnership formulae have to the tested because we only just started and we do not have best practice examples yet.

Institutional investors and companies as well as agencies become more and more interested in urban financing.

EllEn van DER lEi

Orașele devin tot mai importante în dezbaterile și conferinţele internaţionale. S-ar spune că sunt chiar mai importante decât ţările, dacă ne gândim la oamenii de afaceri care își caută noi sedii pentru afacerile lor. Cities become increasingly important in international conferences and debates. One could say that they get to be more important than countries, if we think about business people looking for new headquarters.

SORina RaCOviCEanu


International relations. Young architects in Germany


Itinerant exhibition / 10.11–12.12.2011, National Museum of Contemporary Art, Bucharest

The exhibition presented almost 14 projects completed by young architects from Germany which were carried out abroad, mostly after 2004. Selected examples in architecture, interior design, urban planning and landscaping highlighted the way in which they approach a new and foreign environment, change and redefine already existing buildings and build new ones in extraordinary conditions: sensi‑ tive solutions to current challenges, always considering the future, the sustaina‑ bilit and the new technologies. Contrary to the global media interest for spec‑ taculary and the culture of celebrity, the exhibition presented innovative projects which offer a confident pragmatic and discreet approach, focusing on the place they were designed for.

exhibitiOn Carried Out by: Institute for Cultural International Relations – Stuttgart, in cooperation with the Federal Chamber of German Architects – Berlin Organizers in rOmania: Goethe Institut in partnership with Zeppelin Association suPPOrted by: Order of Architects in Romania, Administration of the National Cultural Heritage, ERSTE Stiftung, National Museum of Contemporary Art, Archis Interventions, Lafarge

Rien ne va plus/ Faites vos jeux


16.09–21.11.2010, avilion Unicredit – centre for contemporary art and culture, Bucharest

The exhibition presents the impact of the economic, environmental and genera‑ tion crisis over architecture and the way to approach the complexity of those issues to set up a future outline. “Rien ne va Plus” started as a research project with the starting point that we are the witnesses of a triple crisis: an economic one, connected to the estate speculations, another one, the environmental one, connected to unprecedented climatic changes and, finally, that of generations. The exhibition compiled texts, images and data on those, with no clear distinction – which texts are part of which crisis. The phrase “Rien ne va Plus” comes from the roulette. It literally stands for the moment when all bets are made, the moment of suspense between the results. Literally, “Rien ne va Plus” is the moment when everything stops.

an exhibitiOn made by: Powerhouse Company (the Netherlands) Organizers in buCharest: Zeppelin Association and Pavilion Unicredit, Union of Romanian Architects suPPOrted by: Embassy of the Netherlands, Pavilion Unicredit, Administration of the National Cultural Heritage Partner: Roca sPOnsOr: Hansen

Bucharest Architecture Biennale 2004, 2006, 2008, 2010

The Zeppelin team organized the 2004–2010 editions of the Bucharest Architecture Biennale, which travelled in 10 cities in the country later on, the competition‑exhibitions of the most valuable Romanian works of architecture. During the 7 (2004–2011) years when the Zeppelin team built the identity and the programme of the biennale, the number of entries in the competition, the visi‑ tors of exhibitions and the international exposure of the Romanian architecture production were constantly growing. The vision of Zeppelin team was to open the discourse of architecture and the issues of the current production to a space of intercultural, cross‑disciplinary dialogue, with a certain access to a cultivated audience. Given this context, it was important for the Zeppelin team to create a wide related cultural programme, exhibitions and conferences placing the local production against wider cultural trends, opening thus the opportunity of under‑ standing certain European/international directions in architecture. The impor‑ tance of the architecture biennale grew from one edition to the next one, and the size and professional relevance of the event were greater and greater, so that, today, we can speak of a new generation of Romanian architecture.

2010 2004

bab 2004 Organizers: Union of Architects in Romania, “Ion Mincu” University of Architecture and Urban Planning main sPOnsOrs: Carpatcement, Graphisoft, Delta Distribution sPOnsOrs: Knauf, Titan Mar, Stage Expert, Franke, Hewlett Packard, Wienerberger, Cotnari, Cărturești, National Housing Agency, National Investments Company, Ruukki Romania bab 2006 Organizers: Zeppelin team, Union of Architects in Romania main sPOnsOrs: Henkel Bautechnik, Dupont Romania sPOnsOrs: Knauf, Velux, Bramac, MonsMedius, Delta Design, Hunter Douglas, Steelcase Romania, Isover, Lafarge, Xerox, Fakro suPPOrted by: Bicau, Bucharest Sector 1 City Hall, Ministry of Culture and Cults, Administration of National Cultural Heritage, National Museum of Contemporary Art, National Investments Company, Embassy of Japan in Bucharest, Japan Foundation, Stage Expert bab 2008 Organizers: Zeppelin team, Union of Architects in Romania suPPOrted by: Museum of Romanian Peasant, National Museum of Contemporary Art, Bucharest City Museum, Administration of National Cultural Heritage, Czech Centre Partner: Cembrit main sPOnsOrs: Final Distribution, Velux, National Investments Commission Sponsors: Rheinzink, Apla, Alukonigstahl, Kludi, Steelcase Romania, Energobit Schreder, Bramac, Rigips, Bicau, Romstal, Cărturești bab 2010 Organizers: Zeppelin Association, Union of Architects in Romania suPPOrted by: Dutch Embassy, Polish Institute, National Museum of Contemporary Art, Administration of National Cultural Heritage, ERSE Foundation, Swiss Architecture Museum in Basel, Asirom, Austrian Cultural Forum, Quehenberger, Goethe Institute, Centre for Visual Introspection Partner: Roca sPOnsOrs: Rockwool, Velux, Lafarge, FSB, Hafele, Knauf Insulation, Energobit Schreder, Egger, Fastius, Bang & Olufsen, BMW – official car of BAB 2010, Geze, Sika, Bel Profile, Tassullo

arhitEkton magazine

builder of illusions

graditelj iluzija

prin partener arboreverde

Magic Blocks 2010 – Behind the concrete curtain Research and urban planning project in Bucharest

Following the project started in 2009, the team focused the research activities on the grand boulevards with blocks from the socialist era and the waste areas behind them, to find out solutions and draw up a strategy to turn those nobody’s lands into genuine public spaces and use them as components of activating the historical city behind the concrete curtain. The historical boulevard Calea Moșilor which developed a lot in the ‘80s was selected as a studycase. The proposed strategy develops the principles of an intervention area (a new public space), an opening of the concrete curtain through a series of public functions and a regulation system to foster investments and the improvement of life in the area. The project defines three types of areas: an intervention one, to cover the space left free behind the rows of blocks and which can be changed into a system of public places through a series of modernizing actions managed by the administration; a protec‑ tion area which coincides, mostly, with the protected historical area; between them, a buffer zone, made of the old streets, the lots and the private buildings whose development needs to comply with urban planning regulations. Those will contribute to save the protection area through attracting those interested to build to the buffer zone, and investments (private and public) in commercial spaces, community services, garages etc. will contribute to improve the quality of the public space and the life of the locals. The project was selected as finalist at the VII‑th edition of the European Prize for Urban Public Space, organised by Centre de Cultura Contemporània de Barcelona, beeing selected from 347 submitted projects from 36 european contries.

PrOjeCt authOrs: Zeppelin Association, Point4, Archis Interventions, Hackenbroich Architekten, in cooperation with ATU, Space Syntax Romania, StudioBASAR, Platforma 9.1 suPPOrted by: Erste Stiftung, Administration of National Cultural Heritage, Union of Romanian Architects, Goethe Institut Partner: Roca

Magic Blocks 2010 Urban interventions

Calea Moșilor 2010: an aggressive and grey concrete curtain, specific to the ‘80s, which cuts a historical fabric and divides the city in two: in front of the boulevard a dense and well equipped city, yet ugly and aggressive, and behind, the historical city, hidden and isolated. The project team proposed a series of interventions meant to activate the area behind the curtains of blocks, as spaces of community and public places part of the historical fabric. Those abandoned places after the totalitarian interventions have a huge potential to locate certain genuine public places, articulate the two kinds of city and reintegrate in the collective memory, in the urban structure and the general touristic circuit of an isolated heritage. The project aimed at very small sites, unoccupied and unclaimed by anyone, where various types of interventions were carried out, symbolically, with the partici‑ pation of the locals, meant to meet their immediate needs but also respect and express the development scenario of that place. The interventions – were four: a passage, a playground, a bench as a staircase, and a close turned into an open living – were meant to test the ideas of the project, stimulate the start of real interventions and support the locals in expressing their opinions and get involved better in the change of their own life space.

PrOjeCt authOrs: Zeppelin Association, Point4, Archis Interventions, Hackenbroich Architekten, in cooperation with ATU, Space Syntax Romania, StudioBASAR, Platforma 9.1 suPPOrted by: Erste Stiftung, Administration of National Cultural Heritage, Goethe Institut, Union of Romanian Architects, Centre for Visual Introspection Partner: Roca

Magic Blocks 2010 – Behind the concrete curtain Exhibition / 14.10–5.11.2010, Centre for Visual Inrospection, Bucharest

The exhition presented the results of the Magic Blocks 2010 project to the audience – the key ideas ideas of the study and the strategy for urban activa‑ tion, the interventions in the public space behind the blocks on Calea Moșilor and a documentary.

PrOjeCt authOrs: Zeppelin Association, Point4, Archis Interventions, Hackenbroich Architekten, in cooperation with ATU, Space Syntax Romania, StudioBASAR, Platforma 9.1 suPPOrted by: Erste Stiftung, Administration of National Cultural Heritage, Goethe Institut, Union of Romanian Architects, Centre for Visual Introspection Partner: Roca

Magic Blocks 2010 – Behind the Concrete Curtain Publication

Concrete curtains cross the entire center of Bucharest: tens of kilometers of uninterrupted blocks lined boulevards built in the ‘70s and ‘80s. Behind them lies the old town, with streets and houses, churches and trees. Between blocks and the old town, free spaces lie there, as resulted after demolitions. Magic Blocks Project 2010 proposes an urban strategy for this type of spaces in Bucharest, and Calea Mosilor was chosen as a case study. Four interventions in public space are presented, with the local community involvement, as a starting point for future larger‑scale operations.


Magic Blocks —2010


Non-spaţiu în spatele cortinei de beton

Zonă tampon

Zonă protejată

Situaţia existentă O cortină de beton, zona haotică din spatele acesteia, marginile zonei istorice centrale. Aceasta din urmă este practic invizibilă în cadrul imaginii generale a oraşului şi este distrusă în mod accelerat printr-o serie de proiecte individuale speculative.

➋ Despre ce fel de teritorii vorbim

Zonă tampon

Zonă protejată

Noul spaţiu public

Strategie de intervenţie Strategia dezvoltă principiile unei zone de intervenţie (un nou spaţiu public), o deschidere a cortinei printr-o serie de funcţii publice la parterele blocurilor şi un sistem de reglementare în zona tampon, care va favoriza investiţiile şi îmbunătăţirea calităţii vieţii din zonă.

la fel de haotic folosite ca toate celelalte, însă

gie pentru proiectele de construcţii noi din veci-

tuită din străzile vechi, loturile de teren și clă-

mai degrabă ascunse și liniștite. Credem că ar

gard nou din beton și un spate de bloc. Mijlocul

nătatea acestora. E nevoie nu doar de proiecte

diri private, a căror dezvoltare trebuie să se

ajunge să fie limitat accesul auto, rearanjate

său este ocupat de un parapet din beton care

pentru parcări și spaţii verzi, ci și de o viziune

realizeze conform regulamentelor urbanistice.

parcările, plantaţi mai mulţi copaci pentru a se

împiedică parcarea. Scaune și cuiere recuperate,


Reglementările ar contribui la salvarea zonei

ajunge la un ansamblu de grădini aparţinând

prinse de parapet și un covor din pietriș mărgi-

de protecţie, prin atragerea investitorilor care

mai degrabă locuitorilor din blocuri și unde stră-

nit de o ramă din lemn compun un salon liniștit

azi vor să construiască acolo spre zona-tampon.

inii ar fi mai puţin tentaţi să intre.

în aer liber.

ţiul rămas liber din spatele șirurilor de blocuri.

Aceste investiţii private (dar și publice) în spa-

Făcând parte din domeniul public, ea poate fi

ţii comerciale, servicii, comunitare, garaje, vor

transformată într-un sistem de spaţii publice

aduce bani și vor contribui la crearea unui spaţiu

printr-o serie de acţiuni de modernizare conduse

public activ și la creșterea standardului zonei.

de organele administrative. Zonă de intervenţie Zonă tampon

O strategie care cuprinde 3 zone


Exemplul prezentat aici este porţiunea de teren dintre Calea Moşilor şi străzile Marcel Iancu, Episcopul Radu şi Ardeleni.

Idei, principii, instrumente Teritoriile care compun Calea Moșilor ar trebui să facă obiectul unor proiecte de amenajare

Instrumentele pentru regenerarea zonei fac

Asociaţia Zeppelin: Cosmina Goagea,

Colaboratori: Radu Leșevschi, Andra Stan.

Ștefan Ghenciulescu

Autorii intervenţiilor în spaţiul public:

parte din două categorii esenţiale:

Point 4: Justin Baroncea

Justin Baroncea, Ștefan Ghenciulescu,

➀ o regândire a spaţiului public: în locul haosu-

Archis Interventions: Kai Vöckler

Cosmina Goagea, Radu Leșevschi,

lui actual de străduţe, alei, maidane, propunem

Hackenbroich Architekten:

Teodora Răducă, Andra Stan, Cristian Niculici

o limitare a accesului auto (inclusiv a parcări-

Wilfried Hackenbroich

Autorii băncii din lemn pentru intervenţia 2

rite (spaţii mai mult sau mai puţin largi, accesi-

lor) și crearea a două tipuri de zone pietonale:

Colaboratori: Teodora Răducă, Andra Stan,

(locul de joacă): studioBASAR (Alexandru Axinte,

bile, închise faţă de bulevard etc.). În schimb, ele

una cu un caracter foarte public și deschis, cea-

Radu Leșevschi, Gagyi Zsofi, Ioana Păvălucă,

Cristian Borcan)

se repetă în alte locuri din oraș. Din acest motiv,

laltă, cu un caracter mai degrabă semi-public,

Tudor Elian

Producţia elementelor din lemn, recondiţionări:

am preferat să aplicăm soluţii adaptate aces-

folosită mai ales de către locuitorii din imediata

tor locuri reale, însă în același timp capabile să


Dezvoltarea proiectului:

Designul grafic al expoziţiei și al acestei

reprezinte modele mai generale.

➁ activităţi ce ar putea avea loc în cadrul spa-

Zeppelin: Ștefan Ghenciulescu

publicaţii: Radu Manelici

Ucin Company

ţiului public, precum și modificări funcţionale

Point 4: Carmen Popescu

Fotografii: Echipa proiectului, Dragoș Lumpan,

mimăm proiecte detaliate (care ar trebui elabo-

la parterul blocurilor sau reglementări în zona

Archis Interventions: Kai Vöckler

Daniel Constantinescu

rate ca o etapă a unei operaţii pe termen lung),

tampon (restructurare de parcele, orientarea

Hackenbroich Architekten:

Autori film: Daniel Constantinescu,

ci doar să indicăm un set de principii, și pe baza

construcţiilor noi către spaţiul public etc.).

Wilfried Hackenbroich

Victor Velculescu

În cadrul studiului nostru, nu am încercat să




P€ €

@ P€

autori şi colaboratori Workshop martie 2010:

tipuri de zone.

mentări privind zona tampon. situaţiile din spatele blocurilor sunt foarte dife-


Magic Blocks —2010

acestora, să elaborăm scenarii pentru diferitele

urbană (în zona de intervenţie) și al unor regleDe fapt, dincolo de caracteristicile generale,

Spaţiul verde îngrădit spre Calea Moşilor ar deveni o adevărată piaţă urbană inaccesibilă maşinilor, aleea continuă din spate s-ar transforma în două fundături cu parcajele aferente, iar porţiunile dintre blocuri şi străzi sau dintre blocuri şi case ar deveni grădini folosite de către locatari.

zile Popa Petre, Spătarului și Corbeni se află un mic spaţiu abandonat, mărginit de calcane, un

➀ O zonă de intervenţie, care să acopere spa-

Magic Blocks —2010 ↙

Într-un astfel de loc, între Calea Moșilor și stră-

de a deveni spaţii publice vii. Uneori găsim locuri

➂ Între acestea două, o zonă tampon consti-

Credem că amenajarea spaţiului din spatele


un salon urban Nu toate zonele din spatele blocurilor sunt apte

zona istorică protejată.

blocurilor nu poate fi concepută fără o strate-

Am definit trei tipuri de zone: Zona de intervenţie

Magic Blocks —2010

➁ O zonă de protecţie, care coincide în mare cu










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€ €


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i P€ P€




transformare a zonei.


spaţii tehnice, și poate începutul unei acţiuni de

StudioBASAR și care a trebuit să plece de la locul


Un embrion de spaţiu public, între mașini și

rampă. Banca creată anul trecut de colegii de la


chiar înainte de a fi terminat.

O plasă închide balustrada periculoasă către

care să facă locul mai sigur și mai prietenos.

www. magic-blocks


nat cel mai bine. Ne-au ajutat și stat alături (mai ales copiii) iar locul a început să fie folosit intens


A fost intervenţia la care locuitorii au reacţio-

întâlniri. Nu am avut decât să întărim ceea ce se întâmpla deja și să adăugăm doar acele lucruri

și pătraţica.

tru, acest loc ar deveni o zonă de sport, joacă și

marcaje pentru jocuri: fotbal la o poartă, pereţica

drept loc de joacă, iar, în cadrul studiului nos-




Câteva pete și dungi de vopsea desenează

către subsol. Copiii din blocuri o foloseau deja

formă înconjurată de clădiri tehnice și o rampă

Proiectul este susţinut de:


devine în același timp loc de stat și pălăvrăgit, cât și tribună pentru jocuri.


curi colorate te conduce, asemenea firimiturilor lui Hänsel și Gretel, către un al doilea loc, o plat-


său din cartierul Aviaţiei este reamplasată și

către asociaţia zeppelin, point4, archis interventions şi hackenbroich architekten. → prima etapă a proiectului s-a concretizat în două publicaţii, un film şi o expoziţie la centrul de introspecţie vizuală bucureşti.


un loc al comunităţii Din pasajul descris mai devreme, un șir de cer-

→ programul magic blocks se desfăşoară din 2010 şi este dedicat elaborării de strategii, idei, scenarii alternative şi acţiuni cu privire la reabilitarea ansamblurilor de locuinţe din perioada socialistă din românia. → magic blocks 2010 este un proiect din cadrul acestui program şi a fost iniţiat de



Magic Blocks —2010

Magic Blocks 2009 Research

The research project provides a sythesis, scenarios, princples and studycases, as well as coherent strategies of intervention and models of projects to rehabili‑ tate the ensembles of the socialist era in Bucharest. Over 70% of the people in Bucharest live in blocks built in the socialist era, which degraded over time and point to considerable economic and social issues. In addition, the low accept‑ ance of urbanity of some of the locals and the concentration on the own private space resulted in the change of the former uniform structures into a type of vertical villages. Any block turned into a collection of private spaces, upon which improvement actions are focused. The key concept of the project is that the reha‑ bilitation of those neighbourhoods does not limit to technical improvements, but must be seen as a complex programme of urban regeneration which also cover the spatial, social and economic issues. The rehabilitation interventions will work only if the activation of a common action is successful. A realist strategy implies the set up of a participating, counseling and communication mechanism between various partners (association of owners, authorities, funders, project authors, builders etc.) to identify issues, define, accept through negotiation and communicate an economic and technical project and carry it out as a set of coordinated actions.

Organizers: Zeppelin Association, Point4 and Archis Interventions, in cooperation with ATU, Space Syntax Romania, Hackenbroich Architekten, Platforma 9.1 PrOjeCt funded by: Romanian Cultural Institute through Cantemir Programme suPPOrted by: Museum of Romanian Peasant, Union of Romanian Architects, ERSTE Foundation, Bucharest Austrian Cultural Forum, Embassy of the Netherlands at Bucharest, Rehau Art, Baumax, Wienerberger‑Porotherm, BCR Partners: Velux, Roca sPOnsOrs: Rockwool, Gealan, Resido, Fakro, Dulux

Magic Blocks 2009 Exhibitions / Berlin, Bucharest & Moscova

The results of the first stage of the Magic Blocks programme (studycases, ideas, principles and possible solutions for a complex reviving strategy of the housing areas in the socialist era) were the theme of three international exhibitions: in Berlin, at AedesLand, Savignyplatz (8 September – 29 October 2009), then in Bucharest, (9–26 November 2009) at the Museum of the Romanian Peasant, Aquarium hall, and in Moscow (26–30 may 2010) part of the Moscow ARCH International Architecture and Design Biennale.

initiative & management: Archis Interventions, Zeppelin, Point 4 Partneri: ATU, Space Sytax Romania, Hackenbroich Architekten, Platform 9,81 PrOjeCt funded by: Romanian Cultural Institute through the Cantemir Programme suPPOrted by: ERSTE Foundaiton, Union of Romanian Architects (based on the funding from the architecture stamp tax), Austrian Cultural Forum, Wienerberger, BCR, Embassy of the Netherlands

Magic Blocks 2009 Book

Scenarios of the socialist blocks in Bucharest A book on social and cultural problems, on architecture and public space, about the economy and community, about identity and, especially, about the power and potential of these ensembles. After an overview of Bucharest as a case study, ideas and principles are proposed for a regeneration strategy, as well as possible solu‑ tions for some representative sites.

edited by: Zeppelin editOrs: Ștefan Ghenciulescu, Constantin Goagea, Kai Vockler ISBN 978‑973‑0‑06942‑6


a ad io er np di ive ile ct ur lle t oc i bl eșt t co res r s a tru cu iali ch en Bu oc Bu ii p în r s in ar tă fo es en lis s tat Sc cia ario es so cen ing S ous h SPORT





Activarea spaţiului public Urban Activation Of Public Space CETĂȚ EN I C



















activare ActivAting


Activarea spaţiului public O matrice cu diferite funcţiuni și actori indică posibilităţile de principiu de a activa spaţiul liber pe durată temporară sau permanentă.





A continuous urban public space behind the »Concrete Curtains« The open space on Moșilor boulevard can be seen as a potential urban public space for local residents as well as for neighbours from the historical center and for citizens in general. By lending spaces different functions and by activating them a sequence of differentiated and dynamic public spaces will appear.

Un spaţiu public continuu în spatele „cortinei de beton” Spaţiul liber de pe Calea Moșilor poate fi privit drept un potenţial spaţiu public nu doar pentru locuitorii blocurilor, ci și pentru vecinii din centrul istoric și pentru cetăţenii orașului, în general. Inserând funcţiuni și activând aceste zone moarte, s-ar obţine în anumite porţiuni secvenţe ale unui spaţiu public continuu și dinamic.


















Beyond global identity a superposition of differences

Și totuși, așa cum știm cu toţii când trecem de la discursul general despre blocuri la unul particularizat despre blocul fiecăruia, ele nu sunt deloc la fel. Dincolo de cele enunţate mai sus, locuirea din perioada socialistă nu a fost uniformă. O suprapunere de diferenţe determină caracteristice extrem de diferite. Există mai multe tipuri de rezolvări arhitecturale și urbane, date de perioada în care au fost construite, de regimul de înălţime, de sistemul constructiv, de densitate. Localizarea – în centru (vom reveni asupra acestei specificităţi românești) sau la periferie, într-o zonă foarte accesibilă sau, dimpotrivă, izolată – determină diferenţe uriașe de valoare efectivă și percepţie între ansambluri altfel identice ca rezolvare. Vârsta lor declanșează discrepanţe enorme ale valorii economice (acum că ele se află de 20 de ani pe piaţa liberă): gradul de uzură al construcţiei și al echipamentelor, gradul de rezistenţă la cutremure (din ce în ce mai bun pe măsură ce sunt mai noi), suprafaţa apartamentelor etc. O privire oricât de sumară asupra hărţii orașului ne dă imediat câteva categorii. Avem de exemplu (puţine) locuinţe din perioada stalinistă sau plombe în centru, a căror scară, situaţie urbană și sisteme constructive le apropie mai degrabă de exemplele antebelice. Asemănător majorităţii orașelor din estul Europei, avem mari cartiere funcţionaliste, uneori de 200.000 - 400.000 de

And yet as we all know, when the general discourse moves from the generic level of ‚blocks’ to that of the block in which we live, no two blocks are quite the same. The above discussion apart, dwelling during the socialist era was far from uniform. A superposition of differences results in features that vary greatly. Architectural and urban solutions vary according to the period when they were put into practice, to height regulations, building systems, density. On the other hand, despite sometimes identical architectural ensemble solutions, location – be it central (massive operations in the center are typical for totalitarian planning in Romania) or suburban, readily accessible or rather isolated - yields huge differences in value as well as in perception. How old a building is constitutes another major differentiating factor when it comes to market value, now that such blocks have been on the market for nearly twenty years; the wear and tear of buildings and their equipment is under scrutiny as is earthquake resistance (the newer the building the better), the size of apartments, etc. A brief look at a city map will instantly reveal a number of block categories. For instance there are few housing ensembles that date back to the Stalinist period; similarly there are only a few central inserts whose scale, urban context and building solutions are closer to those dating from the interwar period. Like most other European cities, Bucharest has its fair share of immense functionalist neighbourhoods which can count as many as

Tipologii de cartiere de blocuri din perioada socialistă (exemple). Examples of socialist neighborhood typologies in the city.

construirea și activarea unui mecanism financiar 1. Înfiinţarea unei agenţii (independente sau din cadrul primăriei) 2. montarea proiectului împreună cu asociaţia de proprietari 3. obţinerea de fonduri de la un partener privat 4. lansarea proiectului constructing and activating a financial mechanism 1. Founding of an agency (independent or integrated into the city hall office) 2. building up a project with the home owner Association 3. Fund raising from a private partner 4. launching of the project

parterul devine activ (și productiv) definirea structurii funcţionale și proiecte pentru conversia parterului Amenajare: spaţii comerciale și servicii publice spaţiile de la parter încep să devină rentabile și apte de a finanţa alte operaţii pentru imobil. The ground floor becomes active (and pproductive) Functional structure and design for the ground floor conversion construction: commercial spaces and public services The ground floor spaces start to bring in money and to be able to finance other operations for the building

mansarda cu apartamente pentru locuitorii de la parter 1. proiectarea și construirea unui nivel de mansardă 2. locuitorii de la parter iși cedează apartamentele și se mută la mansardă 3. spaţiul eliberat la parter intră în administrarea agenţiei The mansarde – apartments for the ground floor inhabitants 1. design and construction of an attic level 2. The inhabitants from the ground floor apartments move into the attic dwellings 3. The free ground floor space gets into the administration of the agency

reabilitare integrată finanţată prin închirierea spaţiilor de la parter 1. Înlocuirea instalaţiilor existente (termice/ electrice/sanitare) 2. Îmbunătăţirea condiţiilor bioclimatice și a impactului ecologic (izolare termică, obloane) 3. tratarea faţadei, reabilitarea și întreţinerea spaţiilor comune overall rehabiliation financed by the ground flooor rental 1. replacement of the existing installations: thermical / electrical / sanitary 2. dwelling and ecologic improvement: thermal insulation, shading panels 3. Façade insulation, rehabilitation and maintaining of common spaces.

104 | MaGiC blOCKS


Rehabilitation as a community project


concluzie COnCLuSIOn

Reabilitarea ca proiect comunitar

O orgie a modificărilor individuale. Balcoanele devin verande închise, extinderi ale spaţiilor interioare, curţi individuale suprapuse, depozitări etc. Preferinţele personale și (mai ales) statutul social sunt vizibile în materialele și tehnicile cu care se realizează intervenţiile. Aceste schimbări sunt de obicei ilegale și au un rezultat architectural deplorabil însă exprimă o nevoi evidente și omniprezente și care ar trebui luate în seamă de orice strategie de reabilitare.

An orgy of individual changes. Balconies become glazed loggias, extensions of rooms, superposed courtyards, storage spaces, etc. Personal taste and (particularly) social status are expressed by the materials and techniques used. These changes are usually illegal and their architectural outcome is deplorable, but they express obvious and general needs and should therefore be taken into account by any rehabilitation strategy.


MAgic BLocKS | 55

Tipul 1 - clădiri înalte Type 1 – high buildings lângă boulevard. along the boulevard. Mecanism de reabilitare Rehabilitation mechanism



54 | MAgic BLocKS

Dincolo de identitatea globală, o suprapunere de diferenţe


Activation of open space A matrix with different functions and actors shows in principle the possibilities for short- or long-term activation of open space.










O secvenţă de spaţii publice active Sequence / Continous Public Spaces



Concluzii (1). Principii pentru o strategie de reabilitare

Conclusions (1). Principles for a Rehabilitation Strategy

În primul rând, ar trebui să vorbim despre regenerare urbană și de-abia în al doilea plan, despre probleme tehnice. Tehnicile există, pot fi importate și adaptate din alte ţări care se ocupă de multă vreme deja de reabilitarea fondului din anii ‘60 –’70; montajul urbanistic, economic și financiar trebuie însă să răspundă unei situaţii foarte specifice, caracterizată prin structura proprietăţii, diversitatea de situaţii și localizări, lipsa unei culturi comunitare.

First, let’s talk about urban regeneration and leave the technical problems for later. Rehabilitation techniques can be imported and adapted from countries that have long been busy rehabilitating their 1960s and 70s stock; we mostly need a fit-for-purpose urban, economic, and financial frame. This frame needs to address specific conditions here, such as property structure, various individual circumstances and locations, as well as a non-existent community culture.

Urgenţa unei acţiuni coerente este maximă. Degradarea construcţiilor și echipamentelor (deloc influenţată de micile îmbunătăţiri individuale) și, independent de aceasta, scăderea accelerată a valorii din cauza amplasamentului și a apariţiei noilor ansambluri va duce la probleme economice (dispariţia unor valori, sărăcire, lipsa posibilităţilor de reabilitare) și, evident, sociale (ghetoizare și apariţia “cartierelorproblemă” cu toate consecinţele ce decurg din aceasta).

Urgent coherent action is required. We are faced with a dilapidated building stock whose facilities are in very bad shape; small individual refurbishments cannot improve their state in any way; bedsides price drop caused by changing perceptions about locations and the availability of new housing developments will lead to major problems, economic (loss of certain values, poverty increase, lack of rehabilitation means) as well as social (the emergence of ghettos and “problem-causing neighbourhoods” with everything they entail).

Strategii diferite pentrU SitUaţii diferite dat fiind faptul că masa de blocuri gri

different contextS call for different StrategieS given the superposition

se compune de fapt dintr-o suprapunere de diferenţe spaţiale și sociale. De fapt, nici nu știm destul despre aceste cartiere. Este esenţială constituirea unei baze de date (structură socială pe cartiere, analiză economică, decupaje arhitecturale și

of spatial as much as social differences. Indeed we know very little about these neigbourhoods. The setting of a database is essential. This should comprise information about the neigbourhoods’ social structure, an economic and legal analysis,


MaGiC blOCKS | 105

urbane, situaţii juridice) care să permită acţiuni ţintite.

architectural and urban contexts, all of which would enable well-tailored action plans.

activarea prin SpaţiUl pUblic din care avem o rezervă uriașă. Acesta ar trebui să devină un element al locuirii, de importanţă aproape egală cu cea a construcţiilor. În orice tip de societate urbană, calitatea spaţiului public este un factor esenţial pentru valorizarea (inclusiv economică) a unui loc și, totodată, una dintre cele mai eficiente componente ale reabilitării: investiţii minime cu un efect considerabil și care, odată realizate, declanșează operaţiuni individuale.

activate pUblic Space of which we have a yet untapped reservoire. It should become an integral element of dwelling, almost as important as buildings. In any urban society, the quality of public space contributes to the status of a place as much as to its economic value and is one of the most efficient components of the rehabilitation process. The small investments it requires yield considerable impact and once in place, trigger individual actions.

proiectUl Urban ar trebui să integreze acţiunile disparate: locuitorii care aduc îmbunătăţiri individuale și acaparează bucăţi de spaţiu public, autorităţile care propun programe de reabilitare termică, administraţia domeniului public care amenajează spaţiul liber etc. Proiect urban înseamnă atât planificare (prin PUD-uri și PUZ-uri) aplicată unor arii bine definite, cât și proiecte de amenajare a spaţiului public; de fapt, de o gândire arhitecturală și urbană a întregului proces.

the Urban project should integrate the otherwise disparate actions: inhabitants who make individual refurbishments and appropriate chunks of public space, authorities who embark on thermo-rehabilitation programmes, the department of public domain which landscapes the vacant public space, a.s.o. An urban project includes both planning regulating strictly defined city areas (detail and zone development plans), and public space projects – indeed a process structured in architectural and in urban planning terms.

e nevoie de cineva care Să aSambleze

Someone haS to pUt all the pieceS

pieSele, adică de o organizaţie – să o numim agenţie – care ar trebui să coordoneze operaţiile; fie că este vorba despre o agenţie în cadrul administraţiei locale sau a ministerului de resort, fie despre un ONG specializat, această organizaţie ar avea o componenţă multidisciplinară și ar acţiona exact în punctul cel mai slab: relaţia dintre asociaţiile de proprietari și autorităţi sau instituţii de credit. Este

together namely an organization – let’s say an agency – tasked to coordinate all operations. It could be a local administration or ministry department or it could be just as well a specialised NGO. Whatever its subordination, this body should consist of a multi-disciplinary team whose role is to mediate the relation between owners’ associations and authorities or lending institutions, that is to say act where support is


Magic Blocks 2009 International conferences and expo Balkanology / 2009–2010, Bucharest, Vienna, Cluj, Istanbul, Moscow (conferences); Vienna, Bucharest, Belgrade, Sofia, Podgorica (expo)

The results of the first stage of Magic Blocks were communicated in a series of 5 international conferences focused on the real principles, strategies and exam‑ ples to revive the public space and carry out community projects: 1. In Bucharest (16.11.2009) – Museum of the Romanian Peasant – with the participation of Michale Obrist (Austria), Kai Vöckler (Germany), Ivan Kucina (Serbia), Marko Sancanin (Croatia), Justin Baroncea (Romania). 2. In Vienna (20.11.2009) – Architekturzentrum, under the 17.Wiener Architektur Kongress – lecturer Ștefan Ghenciulescu; in Cluj (14.05.2010) – Cinema Victoria, part of the Architecture Days in Cluj – lecturer Constantin Goagea; 4. In Istanbul (21.05.2010) – Bahcesehir University, part of the International Policy Forum of Urban Growth and Conservation in Euro‑Asian Coridor, lecturer Cosmina Goagea. 5. in Moscow (29.05.2010) – House of the Artist, part of the 2010 International Biennale of Architecture – lecturer Constantin Goagea.

Organizers: Zeppelin Association, Point4 and Archis Interventions, in cooperation with ATU, Space Syntax Romania, Hackenbroich Architekten, Platform 9.1

A short version of the 2009 Magic Blocks project was integrated, as a section about Romania, in the “Balkanology. New Architecture and Urban Phenomena in South Eastern Europe” international exhibition which travelled in 5 coun‑ tries (2009: AzW / Architecture Center Vienna. 2010: National Museum of Contemporary Art, Bucharest. 2011: Belgrade Heritage House, Belgrade International Architecture Week; Art Pavilion, Podgorica; Vivacom Art Hall, Sofia Architecture Week.)

sPOnsOrs: Rockwool, Gealan, Resido, Fakro, Dulux

PrOjeCt funded by: Romanian Cultural Institute through the Cantemir Programme suPPOrted by: Museum of Romanian Peasant, Union of Romanian Architects, ERSTE Foundation, Bucharest Austrian Cultural Forum, Embassy of the Netherlands at Bucharest, Rehau Art, Baumax, Wienerberger‑Porotherm, BCR Partners: Velux, Roca

Inv Ba urb

Vin Tur

Exp Bas


Căd gari can Belg Balk ilus proc

Iniţ tura nere

Vă i MNA intr

Arhitectura magazine

The three members of Zeppelin editorial board (Constantin Goagea, Cosmina Goagea & Ștefan Ghenciulescu) have participated to the creation of several Romanian architectural publications: the on‑line magazine Virtualia (www., the Romanian edition of Octogon magazine, and the re+invention in 199 of Arhitectura magazine (founded 1906) and its regular publi‑ cation until 2010 (90 issues). Starting with 2011, the team continued to publish an architectural magazine under the name of Zeppelin (Architecture. Space. Ideas). Given the complete team, program and format continuity, the first issue of Zeppelin was numbered 91.

2010 1999

American Avant‑garde



50 years of architecture: from modernism to minimalism

edited: Zeppelin & “Ion Mincu” University Publishing House, Bucharest

Modernism, latemodernism, postmodernism, deconstruction, minimalism. text & PhOtO: Cosmin Caciuc 13 American cities – from New York to Los Angeles. 50 years of modern architec‑ ture. 60 famous architects – from Louis Kahn to Mies van der Rohe, and from Frank editOrs: Ștefan Ghenciulescu, Cosmina Goagea, Constantin Goagea Gehry to David Adjaye. Pages: 372 size: 24 x 22 cm ISBN 978‑973‑1884‑60‑8

Zeppelin Laboratory



25 hours of discussions, 11 architects + 1 designer, 20 projects

edited by: Zeppelin

A selection of the material derived from the first two years of Zeppelin meet‑ ings: social and community architecture, tiny homes, interventions in public spaces, actionism and non‑building, logic and reason.

ISBN: 978‑973‑0‑08875‑5








o ab






zeppelin 03 – 2008: Constantin & Cosmina Goagea 018 Câteva lucruri aleatorii despre Tokyo / Random facts about Tokyo zeppelin 04 – 2008: Juan Trias de Bes /TDB Arquitectura/ 068 Forma-peisaj / Form-landscape 072 Lectura topografică / Topographic reading 078 Spiritul locului / Genius loci 084 Modelare topografică / Topographic model zeppelin 05 – 2008: Yasuhiro Yamashita /Tekuto studio/ 106 Experimentul constructiv radical / Radical constructive experiment 110 Anvelopanta structurală reinventată / Reinvented structural envelope 118 Spațiul imploziv / Implosive space 122 Destabilizarea percepției / Shaking the perception zeppelin 07 – 2008: Șerban Sturdza 148 Regionalism critic / Critical regionalism 154 Recuperarea tipologică / Typological retrieval 158 Intervenția discretă / Discreet intervention 160 Arhitectura completă / Complete architecture zeppelin 09 – 2008: Angelo Rovența 180 Bricolaj inteligent / Intelligent bricolage 188 Socio-arhitectura / Social architecture 208 Integrare / Integration












ore i de ți 25 discu de re ră sp tu de itec arh rs hou 25 lks ta of t ture ou ab itec arch

lin ppe



0 tor








zeppelin 04 – 2008 64

Juan Trias de Bes /TDB Arquitectura/ Barcelona, Spain

Peisajul urban ca geneză a proiectului






'08 229




Dorin Ștefan – DSBA 246


Proiecte recente


Recent projects


➊ problema spațiului urban orizontal și vertical: propunerea de refațadare a Bibliotecii Naționale (2008)



The issue of the horizontal and vertical urban space: the proposal for a new façade of the National Library (2008)

➋ dezvoltarea urbană densă, cu regimuri mari de înălțime:

'08 275


zeppelin 15 – 2009

SAR /search-and-rescue/


➊ mai multe chei de lectură pentru înțelegerea spațiului alambicat, dar normal pentru noi, de București






Several kinds of readings for understanding a sophisticated





space, normal to use, in Bucharest

➋ despre metafora bazarului oriental, cu o „fantomă” și un „pom cu vrăbii”

Topographic urban and architecture projects: Calls House and Provasa Offices in San Cugat, both in Barcelona

➋ logica procesului constructiv,



Questioning our clichés over a spherical universe, starting from a critique of the very superficial way in which the theories of complexity are interpreted in modern architecture (blob-architecture, promoted by Greg Lynn in mid90s, for instance, sees the non-Euclidian exclusively through a spherical area (blob), forgetting the hyperbolic and depending exclusively on a software able to generate shapes)

zeppelin 14 – 2009


Urban landscape as project birth

➊ proiecte urbane și arhitectură topografică: Casa Calls și Birourile Provasa în San Cugat, ambele în Barcelona



On the non Euclidian geometry as a means of locomotion to the




future of architecture and design

Ce am înțeles imediat despre Tokyo este că e un oraș profund uman, cu toate că de multe ori arată ca în Războiul Stelelor. De vină sunt probabil și cei 5 600 de oameni de pe 1 km pătrat. Pentru a înțelege arhitectura aici, este esențial să ții cont de densitatea urbană incredibilă și de ideea obsesivă de fragilitate în fața unei catastrofe. Pentru că orașul Tokyo a fost anulat de două ori numai în ultimul secol, o dată în cutremurul din 1923 când a rămas pe drumuri ⅔ din populație, și în primăvara anului 1945, bombardat de americani. Atunci imaginați-vă un oraș în întregime nou, construit după '45, la început ieftin și repede, cu mijloace limitate, care au avut puțin de-a face cu rațiuni estetice. Astfel, valul de arhitectură de slabă calitate apărută imediat după război este considerat cel de-al doilea dezastru făcut de mâna omului în secolul XX. Și aici m-am gândit că noi acum ar trebui să fim foarte atenți, să nu pățim asta în București. Au urmat apoi excesele din bubble years, anii '80 cu

d kyo Ran t To ou ab


Awarded works, exhibited in prestigious international fairs

➍ lucrări premiate și expuse

D eși mă așteptam și aveam de mult o fantasmă a metropolei japoneze, am avut un șoc cultural la Tokyo.

a tev Câ atoriiokyo ale pre Ts s de om fact






în târguri prestigioase internaționale

A bizarre concept connecting sensual shapes with rococo math

C hestionarea prejudecăților noastre asupra universului sferic, pornind de la o critică a modului foarte superficial în care teoriile complexității sunt interpretate în arhitectura contemporană (blob-architecture, promovată de Greg Lynn la mijlocul anilor '90, de exemplu, clasifică noneuclidianul exclusiv prin spațiul sferic (blob) uitând hiperbolicul și depinde exclusiv de un software generator de forme)


ru luc

Extreme flexilibility may generate a psychological discomfort for the constant transformation of the living space; the system is rather suitable for singles, couples with no children or single parents

➌ despre geometria neeuclidiană ca mijloc de locomoție spre viitorul arhitecturii și designului

Cosmina & Constantin Goagea


F lexibilitatea extremă poate genera un inconfort psihologic față de transformarea continuă a spațiului de viață; sistemul este potrivit mai mult persoanelor singure, cuplurilor fără copii sau familiilor monoparentale




Elastic_LIVINGUNIT is a design compound generating space in various ways, and varying the used surface from 46 m² to 190 m²

➋ un concept ciudat care pune cap la cap forme senzuale cu matematici rococo

zeppelin 11 – 2009: Radu Comșa 222 Hiperbolism / Hyperbolism 226 Modelarea concretă noneuclidiană / Non-Euclidian real shaping 232 Pseudosfera / Pseudosphere 238 Conul hiperbolic / Hyperbolic cone zeppelin 14 – 2009: Dorin Ștefan – DSBA 252 Cosmopolit radical / Radical cosmopolitanism 256 Împachetare / Packing 270 Grefa urbană / Urban grafting zeppelin 15 – 2009: studioBASAR 284 Post-situaționism / Post-situationism 290 Improvizație memorabilă / A memorable improvisation 296 Condensare socială / Social condensation zeppelin 16 – 2009: Adriana Mereuță 312 Radicalism artistic / Artistic radicalism 316 Critica prin arhitectură / Criticism through architecture 320 Poverism / Pauperism zeppelin 18 – 2009: Michael Obrist / Magic Blocks 334 Interacțiune publică / Public interaction 338 Intervenție în zonă istorică / Action-space in the historic area 350 Intervenție pe autostradă / Action-space on the motorway

zeppelin 03 – 2008


E lastic_LIVINGUNIT este un ansamblu de design care generează spațiu în diferite ipostaze, variind suprafața utilă de la 46 m² la 190 m²



'08 295




F ațadele exprimă onest principiul planului liber; prelungirea planșeelor în afara planurilor vitrate răspunde condițiilor climatice, oferind protecția necesară față de însorire The facades honestly expresses the free plan; the extension of the ceiling outside the glazed planes meet the climate requirements offering the necessary protection against sunshine





zeppelin 16 – 2009


Adriana Mereuță

Andrei Șerbescu /ADN/, Cosmin Pavel /Abruptarhitectura/ & Adriana Mereuță





Selectată de noi din grupul celor trei birouri tinere de arhitectură invitate cu această ocazie, Adriana Mereuță este autoarea amenajării centrului Pavilion Unicredit din București. Selected by us from the three young architectural studios invited with this occasion, Adriana Mereuță is the author of Unicredit Pavilion design.







tu en rim iv pe ct Ex stru e n co ical ructiv st rad con ical ent Rad im per ex


E xplorarea arhitecturii pornind de la structură și de la regândirea actului constructiv de bază (asamblare și montaj concret); respingerea problemelor formale disjuncte față de construcție Exploiting architecture starting from structure and rethinking of the basic constructive gesture (actual assemblage and fitting); rejection of disjunctive formal issues connected to the building itself

R ezolvări tehnice + sisteme noi pentru forme convenționale în locul generării simpliste de forme noi prin tehnici convenționale; respingerea folosirii necritice a sistemelor și tehnicilor disponibile Technical solutions + new systems for conventional forms instead of simpleton generations of new forms by way of conventional techniques; rejection of uncritical use of available systems and techniques




➊ povești despre arhitectură de calitate, ca să uităm de megaprograme, megabirouri și megacomplexe de inferioritate

'08 325





C ontinuarea reformei profunde a discursului arhitectural, lansată odată cu modernismul, care privește clădirile din punctul de vedere al capacității industriei materialelor de construcții Continuity of thorough reform of architectural discourse as it had been opened by modernism that considered buildings from the industrial capacity or building materials



'08 334




ne cțiu era Int lică ction b pu intera c bli



M ichael Obrist face parte din colectivul internațional FELD 72 care abordează proiectarea prin experimente punctuale, focalizate pe situații sociale specifice Michael Obrist belongs to an international team, the FELD 72 that approaches design through specific experiments focused on specific social situations

F ELD 72 pornește de la strategii pentru contexte urbane, căutând locuri dificile, experimentează prin instalații la jumătatea distanței dintre arhitectură și instalație artistică, sau prin proiecte alternative, pentru a ajunge la soluții arhitecturale neobișnuite, dar foarte amuzante FELD 72 assumes strategies for urban contexts, looking for difficult places; it also experiments installations halfway between architecture and artistic installation, or alternative projects to come to unusual architectural solutions, sometimes very funny


P roiectele sunt legate în mod special de spațiul public și de un mod de a găsi alternative inteligente cu bugete minimale The projects have a particular relationship with the public space and seek intelligent alternatives on minimal budgets


Transparent City – on limits and dwelling in Bucharest



A personal reading of the dwelling culture in Bucharest during the liberal moderni‑ zation. Overlapping, limits becoming places, depth and stratification as elements of a specific urban culture. Thus, chaotic growth can be seen as a superposition of unfinished projects, “larger village” as a transparent city, and the recent develop‑ ments are marked by the public space dislocations and private places opacity.

edited: Zeppelin & “Ion Mincu” University Publishing House, Bucharest suPPOrted by: Administration of National Cultural Heritage authOr: Ștefan Ghenciulescu ISBN978‑973‑1884‑19‑6

qo Un sistem complex de lărgiri ale spaţiului public, curţi deschise către stradă, retrageri şi spaţii intermediare. qo A complex system of local widening of the boulevard, yards open to the street, retreats and intermediary spaces.




Această lucrare nu este încă una dintre evocările nostalgice ale unui Bucureşti pierdut. Însă porneşte de la pasiunea pentru un oraş foarte particular, în care m-am născut şi pe care tot încerc să îl înţeleg. Nu sunt sigur că am reuşit, fiindcă acest oraş, în general insuportabil şi pe alocuri (încă) fermecător, are această calitate de a-ţi scăpa permanent printre degete. Puţine oraşe îţi permit ca, pe spaţiul unei singure străzi din centru, să treci de la intensitate metropolitană la impresia de cartier tihnit sau chiar sat şi să traversezi vreo cinci stiluri şi epoci de construcţii diferite. În câte centre vechi ale oraşelor mai trebuie să întri în majoritatea clădirilor (unele de zece etaje) tot deschizând o poartă de curte? De unde vine de fapt această imagine? E doar reminescenţa unei urbanităţi impure, sau este totuşi o expresie a unui alt fel de cultură urbană?

This book is not one among many nostalgic evocations of a lost Bucharest. Of course, it has started from my passion for a very special city. It’s the one of my birth but I’m not sure I really understand it. Bucharest seems ungraspable: such an unbearable city, yet hiding so many strangely charming places. There are but few cities where, on the same street you can meet with metropolitan intensity and, next to it, you find yourself in a peaceful or even village-like neighborhood. Walking a few steps, one finds buildings of about five different styles and ages. In how many city centers can you access most buildings (even ten-story high ones) by opening a gate to a courtyard? I have always been wondering where this image comes from. Is it only the leftover of some impure urbanity or the expression of an altogether different urban culture?

Am pornit de la aprecierile şi clişeele obişnuite – oraşul verde, îngrămădirea de sate, satul mai mare, oraşul contrastelor şi altele de acelaşi gen – pentru a vedea ce se ascunde de fapt în spatele lor. Am încercat să construiesc o metodă mai riguroasă de a defini prin ce e Bucureştiul altfel (măcar în parte) şi nişte calităţi esenţiale ce ar merita păstrate şi continuate. Studiul se bazează pe intuiţii exprimate pentru prima oară în timpul studenţiei, dezvoltate în cadrul doctoratului la Universitatea „Ion Mincu“ şi în mai multe articole şi proiecte de cercetare. Între timp, lecturii oraşului i s-a grefat şi propunerea unei metode de cercetare, având ca elemente centrale limitele şi transparenţa. De la cercetarea formei oraşului am ajuns la o interogaţie asupra unei culturi a locuirii. Poate că această metodă, care porneşte de la formă pentru a descrie apoi şi societatea va putea servi şi altor obiecte de cercetare decât Bucureştiul.

I started my research from the usual clichés: the green city, the loose assembly of villages, the bigger village, a city of contrasts and the like – and tried to find what lies beyond them. Thus, I tried to make up a more precise method, able to help me define what makes Bucharest different (partially at least) and some essential qualities that deserve to be kept. My study comes from some insights I first had during my studenthood and developed in my doctoral thesis at “Ion Mincu” University and in several articles and research projects. The search for an instrument to describe this city developed into proposing a research method based on the concepts of limits and transparency. In the end, the aim of the research became to describe not only the shape of the city, but a culture of dwelling. Maybe this method, starting from urban form to talk about society itself could help some research objects, others than Bucharest.




Spaţiul interior propriu-zis. The interior space Spaţii intermediare în cadrul clădirii. Intermediary spaces within the building Transparenţa rezultată din aşezarea pe parcelă. Transparency resulting from the placement of the building on the plot. Diferenţieri ale spaţiului public. Differences within public space

qt Castelaşul de la nr. 34 – o compoziţie delirantă al teraselor, ms San Gimignano. Un exemplu

mt Bucureşti, mijlocul secolului al XIX-lea.

ideal de oraş medieval mic: aşezarea

Cultura urbană balcanică şi mai ales absenţa

autonomă, compactă, clar decupată

fortificaţiilor sunt principalele motive pentru

de teritoriul înconjurător.

amestecul deconcertant de urban şi rural.

ms San Gimignano as the

mt Bucharest at the middle of the 19th century.

bovindourilor, loggilor care individualizează apartamentele şi adânceşte limitele între acestea şi exterior. qt The castle at nr. 34 – a delirious composition of terraces, bow-windows, loggias a.s.o., that individualize the apartments

ideal small medieval town: an

The Balkan urban culture and especially the

autonomous, compact settlement,

absence of town walls are the main reasons

clearly cut out from the surrounding

for the quite disconcerting mix-up of urban


and rural areas.

and deepens the limits between the exterior and the interior. qs Blocul «cubist» de la numărul 21 – o reinterpretare a casei-vagon. qs The “Cubist” apartment building


calitatea de oraş unei aşezări tradiţionale, ele devenind aproape la fel de importante ca şi autonomia politică şi juridică1. Importanţa fortificaţiilor pentru securitate, dar şi ca simbol al unui decupaj social şi politic a determinat un model de creştere pe care îl regăsim permanent în Evul Mediu şi în unele cazuri (cum ar fi cel al oraşelor elveţiene), până departe în secolele al XVIII-lea şi al XIX-lea: o creştere intensivă, cu construcţii din ce în ce mai dense în interiorul fortificaţiilor, apariţia unor construcţii şi apoi a unor cartiere în afara acestora, urmată de construirea unei noi centuri (eventual înglobând şi foste aşezări distincte), o

The importance of fortifications for security and as symbol of a social and political cutout triggered a growth model easily identifiable in the Middle Ages and, in some cases (the Swiss cities) well into the 18th and 19th centuries; it showed an intensive growth, denser buildings inside the fortifications, the emergence of new constructions and residential areas beyond them, new belts (possibly comprising the former settlements), a new intra muros densification and the whole process was repeated once more. That is also the case of some towns in Transylvania (Sibiu, is a telling example), that fol-

1 Max Weber, Die Stadt. Max Weber Gesamtausgabe. Abt. I Schriften und Reden: Wirtschaft und Gesellschaft. Band 22/5: Die Wirtschaft und die gesellschaftlichen Ordnungen und Mächte. Nachlass. Teilband 5 (Tübingen: Mohr Siebeck Verlag, 1999).

1 Max Weber, Die Stadt. Max Weber Gesamtausgabe. Abt. I Schriften und Reden: Wirtschaft und Gesellschaft. Band 22/5: Die Wirtschaft und die gesellschaftlichen Ordnungen und Mächte. Nachlass. Teilband 5 (Tübingen: Mohr Siebeck Verlag, 1999).



settlement be a real town, being as important as the political and judicial self-government.1

Porţiunea selectată aici pentru analiză este cea dintre străzile Arthur Verona şi C.A. Rosetti. Întreg bulevardul (astăzi Gheorghe Magheru – Nicoale Bălcescu, înainte de război Ion Brătianu – Take Ionescu) face parte din marele proiect modern de străpungere a celor două axe cardinale. Practic este vorba despre o axă complet nouă, realizată aproape integral în anii ’30, epocă a unei dezvoltări urbane fără precedent şi a unui entuziasm generalizat pentru modernitate. Într-o manieră similară cu cea pariziană, noua axă generează construcţii aliniate la ea, însă care ocupă parcelarul vechi (uneori comasat) şi se articulează cu parcelele vecine şi cu celelalte străzi. Nu găsim nici un element stilistic sau tipologic „tradiţional românesc” aici: axul aparţine marii tradiţii franceze a secolului al XIX-lea, planurile urmăresc de obicei tipologii moderni-






at nr. 21 – a reinterpretation of the thoroughfare-room house

8. MAGHERU BOULEVARD: MODERNISM, OVERDENSITY AND NEGOTIATION OF TRANSPARENCY I have chosen to analyze the part between Arthur Verona and C.A. Rosetti Streets. The whole boulevard (Gheorghe Magheru – Nicolae Balcescu, Ion Bratianu – Take Ionescu before the war) belongs in the big modern project meant to cut the two cardinal axes. In fact, this axis was a totally new one, mostly built in the 1930s, an unparalleled development period marked by an almost unanimous commitment to modernity. As much as the Parisian one, the new axis generated aligned buildings, yet standing on the old parcels (joined sometimes), and articulated with the neighboring plot structure and streets. Here, we cannot find a single stylistic or typological element belonging to the “Romanian tradition”: qm Fotografie de epocă. qm Period photograph.

net publicul de privat. Pe de altă parte, în cele trei studii de caz din Bucureşti, nu avem de-a face cu aceleaşi grupuri sociale. Locuitorii bulevardului Magheru – o burghezie foarte urbană – erau diferiţi de mica burghezie de pe strada Popa Nan, cu un mod de viaţă mai patriarhal, deci cu o altă relaţie cu oraşul. Astăzi, compoziţia socială din aceste locuri este complet diferită. De asemenea, la scara generală a oraşului, trebuie diferenţiată acţiunea autorităţilor asupra spaţiului – care determină direct forma clădirilor sau a spaţiilor publice sau, prin regulamente, anumite aspecte ale construcţiilor private de locuirea în sine. O analiză care ar lua în considerare toate aceste determinări îmi pare imposibilă, altfel decât în mari echipe pluridisciplinare. În aceste condiţii, nu pot decât să încerc să dau câteva direcţii de abordare şi ipoteze. Ele ar trebui verificate, inclusiv prin

ro Vila (Radu Teacă, Artline – 2008)

cercetări asupra aceloraşi spaţii, însă cu instrumentele ştiinţelor umane.

rp Sediul Uniunii Arhitecţilor din România şi spaţii pentru birouri (Dan Marin, Zeno Bogdănescu, 2003 - ’04).

ro Villa (Radu Teacă, Artline – 2008)

quite different. Likewise, one should see distinguish between the authorities operating at the bigger city scale and directly imposing the building or public space shapes by regulations from the dwelling itself. I think that we need multi-disciplinary teams to deal with all such relations. Therefore, I am only trying to find some approaches here and offer some hypotheses. However, they have to be checked, by research studies on the same spaces, with instruments specific to humanities.

În primul rând, aş discuta o concluzie care, la prima vedere, pare pertinentă: spaţiul public slab al Bucureştiului ar fi cel care a determinat o aşezare a nenumărate filtre, ca tot atâtea locuri protejate unde te poţi arăta şi întâlni – locuri de care o cultură urbană puternică ar avea mai puţină nevoie. Însă această logică este contrazisă de dezvoltarea istorică. Am observat mai sus o creştere şi o transformare a transparenţei ce a acompaniat tocmai o urbanizare progresivă. În schimb, situaţia de după 1989, în care spaţiul public se dezagregă progresiv, nu a generat filtre suplimentare, ci, dimpotrivă, o închidere din ce în ce mai pronunţată. Cred că se poate accepta transparenţa mai degrabă drept un mod de a realiza o deschidere mediată între public şi privat, o tendinţă niciodată exprimată explicit de

rp Headquarters of the Union of Romanian Architects and office spaces (Dan Marin, Zeno Bogdănescu, 2003-04).

First of all, I would like to linger a little on an apparently relevant conclusion it may seen it is Bucharest’s weak public space that led to the several filters as protected areas where you might expose yourself and meet, places that a powerful urban culture would not need any longer. But this logic is contradicted by historical development. I have already pointed to the growth and change of transparency that went along with the progressive urbanization. On the other hand, after 1989, when public space is progressively deteriorating, we can see no additional filters; quite the contrary, dwelling


Small ideas for a big city


Exhibition / conference / 17.10–15.11.2008, Museum of Romanian Peasant, Aquarium hall

The exhibition promoted 16 alternative projects to improve public spaces in Bucharest. Small ideas, costwise, which could truly improve the quality of life for communities and certain urban situations. Designed by the members of the organi‑ zation and by young invited architects, the proposals submitted to authorities and the wide audience addressed various places, from abandoned sites to the great housing neighbourhoods, and spaces in the heart of the historical centre. The key requirement was the denial of the utopia and the invention of solutions with a very low budget, which could soon applied and turn into model‑interventions: no wast, excessive demolitions and grand constructions, but with a well defined target, we can make the life in our cities bearable. Part of those projects went, meanwhile, into more advanced stages. The project aimed to support a slow administration, promote professionals, theoretical models and fast working strategies.

bienala de arhitectură bucurești

> Irina Băncescu & Olivia Nicolescu > Bogdan & Van Broeck Architects (Oana Bogdan, Leo Van Broeck,

Iat o demonstraie c se poate face ceva cnd vorbim de spaiul public, de blocurile comuniste, de strzi ticsite de maini, de monumente sau de grdini, de tot ce ne doare pe noi cel mai tare. Am lansat acest titlu i am primit 16 proiecte care se pot realiza cu bani puini i logistic insignifiant: unele sunt proiecte de design urban, altele efort de recuperare, un mic recycle al locului, iar altele propun o curenie deteapt. Noi suntem gata de treab.

Aron Sumeghy)

i probabil v ntrebai ce-i cu cioara Cioara e n expoziie fiindc nou ne place adaptarea ei de la cmpul cu grune la forfota din ora. E un martor simpatic al tranziiei de la viaa de sat la cea urban. Ea e o parte din fauna slbatic adaptat acestei convieuiri. i mai sunt i altele, dar e doar un afi nu trebuie s scriem tot.

> Radu Comşa

Un proiect inventat de revista Arhitectura

> Atelier Mihai Duţescu

17 octombrie  15 noiembrie

Sofie Liesenborghs, Joris Moonen, Philip Stessens,

Muzeul ranului Romn  sala Acvariu

> ISD STUDIO (Ştefan Davidovici & Irina Şuteu) > Horia Marinescu > Vladimir Obradovici > Planwerk Cluj > Point4 & Arhitectura (Justin Baroncea, Radu Enescu, Ştefan Ghenciulescu, Constantin Goagea, Jean Craiu, Carmen Popescu, Ada Demetriu) > Synthesis Architecture (Panteli Mourgka) > Ştefan Tuchilă



NR. 52 FEB 2007 8 RON


cu sprijinul


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sponsori principali MAGENTA: C: 0 M: 100 Y: 0 K: 0

PORTOCALIU: POLICROMIE: POLICROMIE: Pantone Process Magenta C:C 0 Pantone 22-1 C M:




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POLICROMIE: Pantone 73-1 C CULOARE SPECIALA: Pantone 485 C

Organizers: Zeppelin team suPPOrted by: Museum of Romanian Peasant, Administration of National Cultural Heritage Partner: Cembrit main sPOnsOrs: Final Distribution, Velux, National Investments Commission sPOnsOrs: Rheinzink, Apla, Alukonigstahl, Kludi, Steelcase Romania, Energobit Schreder, Bramac, Rigips, Bicau, Romstal, Cărturești

35 cities, lots of pixels, some coffee


Exhibition of contemporary architecture photography / Photos by Cosmin Caciuc & Ștefan Tuchilă; curator: Constantin Goagea, 17.10–15.11 2008, Bucharest Art Galleries

A journey in the history of contemporary architecture, talking about the condi‑ tion of the modern architect in his function as a tourist/world observer, with an attempt of a look less interested by the seduction of surfaces and more focused to decoding the hidden sides of places and objects. A photographic vision about developed architectural realities and, at the same time, the story of some archi‑ tects in search for a coherent vision on the real.

Organizer: Zeppelin team suPPOrted by: Museum of the City of Bucharest Partner: Cembrit main sPOnsOrs: Gerard, Velux, National Investment Commission sPOnsOrs: Rheinzink, Apla, Alukonigstahl, Kludi, Steelcase, Energobit, Bramac, Rigips, Bicau, Romstal, Cărturești


bienala de arhitectură bucurești


Galeriile de Artă ale Municipiului București (Galeria Nouă) strada Academiei nr.15 17 octombrie – 15 noiembrie 2008

Unul în Europa, celălalt în America: planul de călătorie, descărcatul fișierelor, biletele, așteptatul autobuzului, de încărcat bateria, de verificat spaţiul liber pe disc, cum e vremea, cum e lumina, o cafea, ultimele reglaje, clack. Poate că toată lumea face azi la fel, iar acum vă uitaţi la locurile la care s-au uitat și ei și le-au fotografiat, le știaţi deja, sunt locurile pe care alţii le-au creat din alte imagini, din alte citate, din alte călătorii. Iar cei doi fotografi caută un fel de-a lua un oraș nou în posesie, un fel aparte de a-l jalona cu arhitectură contemporană sau de a-l memora. Sunteţi parte dintr-un tablou, care e parte din alt tablou mai mare, voi, călătoriile voastre, numai că nu sunt oglinzi paralele care ne dau mereu aceeași imagine, ci o lume colţuroasă, inexactă, în schimb bogată.



Este o expoziţie despre un fel de arhiturism, care nu e doar pamplezir, e căutare, descoperire, cunoaștere, index de arhitectură contemporană, poveste personală. Această expoziţie e o viziune fotografică despre realităţi arhitecturale evoluate și în același timp povestea unor arhitecţi în căutarea unei viziuni consistente asupra realului. Bienala de Arhitectură București 2008 vă trimite într-o excursie in istoria arhitecturii contemporane, povestind despre condiţia arhitectului modern în calitatea lui de turist / observator al lumii, încercând o privire mai puţin interesată de seducţia suprafeţelor și mai mult aplecată spre descifrarea aspectelor ascunse ale locurilor și obiectelor. – curator Constantin Goagea

NR. 52 FEB 2007 8 RON

parteneri media

sponsori principali sponsori

cu sprijinul ROSU: C: 0 M: 100 Y: 100 K: 0

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POLICROMIE: Pantone 73-1 C CULOARE SPECIALA: Pantone 485 C

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nu / Romanian public space


Photo installation / Author: Ștefan Tuchilă, 17.10–15.11.2008, Museum of Romanian Peasant, Foyer

The project outlined, through the photo installation proposed by Ștefan Tuchilă, in a deliberately challenging, almost polemic, action the current Romanian urban background to its basics: the conflict between the city and those who populate it. 110 photos taken in Bucharest to extract the most common word on its streets, an echo of constant hostility relationships and an ongoing aggressiveness.

Organizers: Zeppelin team suPPOrted by: Museum of the Romanian Peasant, Administration of the National Cultural Heritage Partner: Cembrit

main sPOnsOrs: Final Distribution, Velux, National Investments Commission sPOnsOrs: Rheinzink, Apla, Alukonigstahl, Kludi, Steelcase, Energobit, Bramac, Rigips, Bicau, Romstal, Cărturești



Installation / Author: Radu Comșa, 17.11–15.11.2008, Museum of Romanian Peasant, Bucharest

The Hyperlocked installation was designed to function as a support to introduce the Hiperbolism in circulation, which could define an architectural trend at the end of the 20th century and featuring an exhaustive use of succession of spherical and hyperbolical surfaces. Following a prolonged modernism and decorative and historicist post‑modern exaggerations, the purely geometrical, Neo‑Euclidian, reaction, seems to have smoothened its path for success with the audience and the critics, though the stakes are only visual, with no inherent functionality. The succession of spherical and hyperbolical surfaces on an architectural volume is exclusively the result of digital modelling, such designs have no organic connota‑ tion, de names of “biomorphism” or “new organic trend” being, therefore, inap‑ propriate. The installation presented as a first premiere the material prototype of interwoven hyperbolic fabrics, in which the asymptotic lines of the inner fabric are determined by the positioning in the discreet network of the exterior one. Such an image has not been created, as a three‑dimension, before, being possible only virtually, on the screen of a monitor.

Organizers: Zeppelin team suPPOrted by: Museum of Romanian Peasant, Administration of National Cultural Heritage Partner: Cembrit main sPOnsOrs: Final Distribution, Velux, National Investments Commission sPOnsOrs: Rheinzink, Apla, Alukonigstahl, Kludi, Steelcase, Energobit, Bramac, Rigips, Bicau, Romstal, Cărturești

Avant‑garde and continuity


Itinerant exhibition in Romania and conference on Croatian contemporary architecture / 17.10–15.11.2008, Museum of Romanian Peasant

The explosion of good quality architecture is the result not only of the local circumstances, but also of a certain historical continuity. The exhibition focused on the most productive eras in the modern and contemporary history, presenting a selection of exemplary works. The first matches the ‘30s, after winning the independence. The architecture of the ’50s and the ‘60s reflect the special case of Yugoslavia in the socialist block. The lack of Stalinism and the determined opening to the West, especially for the republics in the West of the federation, welcome a modern architecture able to meet the Dalmatic background, and generally the Mediterranean one. The new trends after the Balkan wars reflect the reintegration in the European cultural space and the social changes and, simultaneously, the searches for a critical regionalism.

Organizers: Zeppelin Association for the Romanian edition of the project, a Wiener Städtische Versicherung AG – Vienna Insurance Group and Arhiteckst Zagreb co‑production; commissioners: Adolph Stiller, Vera Grimmer, Tadej Glažar, Maroje Mrduljaš, Andrija Rusan suPPOrted by: Museum of the Romanian Peasant, Administration of National Cultural Heritage Partner: Cembrit main sPOnsOrs: Final Distribution, Velux, National Investments Commission sPOnsOrs: Rheinzink, Apla, Alukonigstahl, Kludi, Steelcase, Energobit, Bramac, Rigips, Bicau, Romstal, Cărturești



Itinerant exhibition in Romania / 17.10–15.11.2008, Museum of Romanian Peasants

The exhibition aimed at new ideas and concepts in the works of 39 authors form the new generation of Hungarian architects (20–40 years). The presented selec‑ tion followed a national competition, one of the most important criteria being that to approaching environmental issues, the way in which projects adapt to the place they relate to, their relevance for that site, the way in which they express and convey innovative ideas.

exhibitiOn Carried Out by: Organization of Hungarian Architects; curators: Reischl Gábor, Csontos Györgyi, Pálóczi Tibor Organizers at buCharest: Zeppelin team suPPOrted by: Museum of the Romanian Peasant, Administration of the National Cultural Heritage Partner: Cembrit main sPOnsOrs: Final Distribution, Velux, Comisia Naţională pentru Investiţii sPOnsOrs: Rheinzink, Apla, Alukonigstahl, Kludi, Steelcase, Energobit, Bramac, Rigips, Bicau, Romstal, Cărturești

Rudolf Fränkel’s urban architecture


Monographic exhibition / 29.10–30.11.2008, MNAC – galeria ¾, Bucharest National Theatre

The exhibition aimed to make known the works of an exceptional architect, but Organizers: bfstudio‑Architekten in Berlin and Goethe Institute at Bucharest with far too little known. Rudolf Fränkel was born and worked early in Germany. In Zeppelin team 1933, following the Nazi, he emigrated and settled in Bucharest, from where he emigrated again to England in 1937. After the war, he finally settled in the United States. The exhibition had three sections: the first, dedicated to Fränkel’s works in general, with parallels between his activity in Germany and that in Romania. The main section covered the most important work in Berlin, the Atlantic garden‑quarter, as well as its restoration by bfstudio‑Architekten office – a model of urban revitalization and resurrection of a metropolitan spirit. A vital model for a city such as Bucharest, whose exceptional modernist heritage, fully ignored by the society and cultural elites, is to be irreparably damaged. The third illustrated the progress of Fränkel’s works in the last 70 years. The photographic reading of Iosif Kiralyi goes beyond the documentary aim, reforming the greatness and the decline of the modernist dream in Bucharest.

Jukebox City


Exhibition / 18.10–18.11.2007, met‑room Gallery, Barcelona

An exhibition of Bucharest architecture presented in Barcelona. Apparently, our capital is a colage of fragments, a place of colission of architectures and identities; actually, an incredible laboratory of modernity. There is no stand of the trends of the last two centuries which could not be identified there, where a Balcan original background coabitates, an original interpretation of metropolitan models of the 19th century, an European heritage of interwar modern architecture, the grateast totalitarian operation in Europe and, finally, a frenetic and fragmented develop‑ ment following the collapse of dictatorship. The Jukebox City title takes over the metaphor of a juke‑box – hits from various times apparently in disorder, but with themes and genres structuring discreetly the general collection. The exhibition, organized in 5 sections, was designed as a system of objects and installations set up freely in various spacs, the visitor being stimulated to discover and interact with the city and the works of architecture. For instance, in the first section – the Layers of the City – the movement of a toy car along the plan moved a projection on the wall – a colage of pictures on the real route: a digital walk on a route where old churches, buildings of a fin de siecle, interwar modernism or the ‘60s and gigantic ceausist interventions mix together.

Organizers: Zeppelin team, Scalae ED, Met.Room Foundation Partner: Order of Romanian Architects PrOjeCt funded by: Ministry of Cultures and Cults in Romania



Exhibition in Basel and Bucharest

The interactive project representing Romania at the 10th edition of the Venice Biennale in 2006, where it had 50,000 visitors and 3,500 active participants, was presented in 2007 to the Basel audience (in November, at the Swiss Museum of Architecture, under a great festival dedicated to Romania, Culturescapes) and in Bucharest (June 2007, Dalles Hall). Basically, a model of a sociological, urban planning and architecture study designed as a game, meant to shape active partici‑ pation, the decision in the development trends, a call for reactions, opinions and solutions, presenting the issue of cohabitation, the confrontation of ideas, sorting out wishes and personal visions about the city and urbanity. Which talks about the good and the social interest.‑basel/exihibitions/

Organizers: Zeppelin team buCurești Partenrs: Carpatcement, Velux, Robstone, Association of National Cultural Heritage sPOnsOr: Mons Medius suPPOrted by: National Art Museum of Romania basel Partenrs: Culturscapes Festival, Romanian Cultural Institute



Romanian Pavilion at Venice Biennale 2006

Starting from the fragmentary character of the Romanian reality, the exhibition presented nine basic types: energies and potentials, public space, housing models (dream house), social segregation (gentrification as opposed to extreme poverty), environmental issues, monuments and heritage, the city, the village and, finally, the planning. Alternative approaches were also presented – democratic urban planning, responsible architecture, social projects – which try to balance global trends. The types, turned into symbolic questions, were then marked of large cubes: two sides had a question; the other 4 were reply alternatives. The player placed each cube on a platform, with the side having the preferred answer up. Each side included a hidden identification card, read by an electronic device which sent it to a computer. This analyzed the replies and displayed them on a screen, followed by a real image from Romania, representative for that choice. The player discovered that way what type of development was selected, how modern or conservative, liberal or environmental‑friendly, individualist or community‑based will be the Romania he/she remixed. Finally, the whole set of that individual games built the image of a common project and showed the main areas of misbalance, mostly needing negotiation and community commitment.

CO‑authOrs: Constantin Goagea (deputy‑commissioner), Cosmina Goagea, Ștefan Ghenciulescu, Justin Baroncea, Ana Bleahu, Carmen Popescu (member in the design team for the competition) COmmissiOner: Marius Marcu‑Lapadat Organizer: Union of Romanian Architects CO‑Organizers: Ministry of Culture and Cults in Romania, Romanian Cultural Institute sPOnsOr: Carpatcement

Remix. Fragments of a country



The Catalogue for Romanian Pavilion at the Venice Architecture Biennale; the first multidisciplinary analysis (architectural and urban, sociological, anthropological and environmental) of Romanian territory developments after 1989.

edited by: Q Group Proiect editOrs: Constantin Goagea, Cosmina Goagea, Ștefan Ghenciulescu, Justin Baroncea, Ana Bleahu ISBN‑10 973‑04537‑2ISBN‑13 978‑973‑0‑04537‑6

Continuity vs. Mutation


Exhibition of Japanese contemporary architecture / 8.11.2006–8.01.2007, National Museum of Contemporary Art

The exhibition presented a particular way of relating to tradition, reflected by the current Japanese architecture. The continuity is not about the perpetuation of a “Japanese style”, but one could notice that Japanese architects are rather inclined to look for ideas, concepts, background at the bottom of traditional architecture, rather than typologies or models. Certain common categories were defined for participants, highlighting 3 selection types: 1. First‑class architecture, with a selection mainly relying on the complexity of programmes and the development of the public space: Jun Aoki, Tetsuo Furuichi, Waro Kishi, Kazuhiro Kojima, Kengo Kuma, Hiroshi Naito, Sanaa and Taira Nishizawa. 2. A second selection is rather focused on the housing, the small functions and the search for alternatives: Ryuichi Ashizawa, Sou Fujimoto, Masahiro & Mao Harada, Jun Igarashi, Kumiko Inui, Kazuyasu Kochi, Hironori Matsubara, Tetsuya Nakazono, Makoto Tanijiri and Kuniaki Takahashi. 3. Engineering structures – examples of mutations in the thinking of a construc‑ tion, changes of thinking, beyond scale and programme: Kenji Nawa and Jun Sato. Speaking visually and aesthetically only, the modern and traditional architecture seem completely separated, but the exhibition points out to the very way in which the poetic of the Japanese architecture moves in a different time, in a different cultural and technological paradigm, than that of the present.

Organizer: Zeppelin team CuratOr: Yoshihide Kobabawa main sPOnsOrs: Henkel Bautechnik, Dupont Romania sPOnsOrs: Knauf, Velux, Bramac, MonsMedius, Delta Design, Hunter Douglas, Steelcase Romania, Isover, Lafarge, Xerox, Fakro suPPOrted by: Bucharest Sector 1 City Hall, Ministry of Culture and Cults, Administration of National Cultural Heritage, National Museum of Contemporary Art, National Investments Company, Japan Embassy at Bucharest, Japan Foundation, Stage Expert



Exhibition of Japanese contemporary architecture / 8.11.2006–30.01.2007, National Museum of Contemporary Art, Bucharest

Sensai, the word providing the title of the exhibition, a typical Japanese concept which could be translated as beauty, delicacy, subtlety, sophistication. It means human touch, delicate approach, craftsmanship and is, in a way, opposed to technology and industrial elements. The perspective is focused on the object of architecture as detailed, on the appropriate combination of materials, each one selected for its effect, on the setting and the emotions. Total balance and total appropriateness. A very simple and clean image, behind which sophisticated tech‑ niques hide, an immense care for the tiniest detail and, of course, a lot of plan‑ ning. The Sensai character consists of appropriate answers, balance and poetry, the beauty of the empty space and the economy of language. About all those, and the way in which an extremely modern and valuable architecture can be produced, on the background of a discreet and summarized tradition was about the projects of the 10 participating architects: Taro Ashihara, Yasushi Horibe, Kazuo Iwamura, Chitoshi Kitara, Hiroshi Naito, Akira Sakamoto, Eizo Shiina, Yoshiji Takehara, Akira Watanabe and Ken Yokogawa.

exhibitiOn PrOduCed by: Japan Institute of Architects Organizers in buCharest: Zeppelin team main sPOnsOrs: Henkel Bautechnik, Dupont Romania sPOnsOrs: Knauf, Velux, Bramac, MonsMedius, Delta Design, Hunter Douglas, Steelcase Romania, Isover, Lafarge, Xerox, Fakro suPPOrted by: Bucharest Sector 1 City Hall, Ministry of Culture and Cults, Administration of National Cultural Heritage, National Museum of Contemporary Art, National Investments Company, Embassy of Japan in Bucharest, Japan Foundation, Stage Expert



Exhibition of contemporary Japanese architecture / 16.06–7.07.2005, National Museum of Contemporary Art

Three young architects under 40: Kumiko Inui – one of the most talented prom‑ ising architects, Naoyuki Nagata – outstanding in house design and Tomio Mabuchi – a very discreet architect so far, member of an entreprenorial team with over 10,000 people. The key component in their way of approaching architecture is that they all started with art and design. Also, they share a similar perspective on architecture, both committed and relaxed. The 3j40 exhibition present their experience over the last couple of years and the case of valuable urban interven‑ tions, produced as an alternative to what was built in a critical time in the history of Japan. Given the EU accession status, Romanian cities undergo dramatic and fast changes, similar to those suffered by the Japanese cities in between 1960 and 1980. The exhibition was also an invitation for architects, building inves‑ tors and other Romanain stakeholders, to become aware of the complex impact of their actions on the long run and to take responsibility for any action carried out in a city.

Organizer: Zeppelin team CO‑Organizer: National Museum of Contemporary Art CuratOrs: Cosmina Goagea, Atsuro Osada Cu sPrijinul: Japanese Embassy in Bucharest Partner: Carpatcement

Expo Diego Ferrari


Photography exhibition / 1–16.09.2005, Mincu House – Romanian Order of Architects

Its photos, apparently colages or easily digitally completed special effects, are Organizer: Zeppelin team made with a 35 mm single‑use camera, chap, easile changed, so that a a set of Partners: Order of Architects in Romania, images, usually three, can be mixed up. By disconnecting the automatic mecha‑ British Council nism adjusting the diaphragm and the movement of the film, Ferrary controls manually the exposure time and may connect between them the different perspec‑ tives, covering the already exposed film surface. Diego Ferrari’s photos first explore the way in which invest the space, living in it. From early devices to most recent photographs, he focused on the subtle changes of meaning given by the change of light, the multiple perspectives focused in a frame, the mix between visible interiors and the invisible ones, and the exagera‑ tion of details of architectural and human shapes. For him, the space is never a neutral scene on which humans carry out their activities. He sees it rather as an active force to change and which is changed by our actions.

Seek 02


Screening of a film produced by Neutral (London) / 15–16.09.2005, Revolution Square

An experimental film about the contemporary city seen as a global entity, crea‑ Organizer: Zeppelin team tion of the British group, Neutral. Images shot in two different cities, London and Partneri: Order of Romanian Architects, Bombay, are combined, mixed or superimposed, common places are explored, British Council placed in contradiction or highlighted, deliberately avoiding geographical sources and outlining a weird experience of modern living. The film explores the subjec‑ tive perceptions of a global urbanity, plays with the imagination, expectations and prejudices of the audience. The images of urban flows are combined in an elabo‑ rate choreography and a complex setting, using music as a driving force. The spon‑ taneous slow down of the flows increases the attention and selective perception of urban elements. Neutral produces digital creations for the top names of contem‑ porary architecture: Zaha Hadid, Herzog de Meuron, David Chipperfield. The screening too, place in the Revolution Square, part of the George Enescu Festival.

Catalan contemporary architecture


Exhibition / 16.11–20.12.2004, “Ion Mincu” University of Architecture and Urban Planning

The exhibition focused on Catalonia and its architectural state‑of‑the‑art architec‑ ture. We did not aim to have a division of style, since the trends and styles are least applicable in the Iberic Peninsula. The selection went along three categories: 1. members of the international elite – Carlos Ferrater, and the continuation of classical modernity, as opposed to the unclassifiable poetics of Eric Miralles 2. young promising architects – Manel Bailo, Rosa Rull, Jaime Coll, Judith Leclerc, Eric Massip, Angels Negre & Felix Solaguren, Miguel Roldan, Merce Berengue, Juan Trias de Bes – noted for their successful integration of external influences, the joy of experimenting, and the fertility of new themes – environ‑ ment, urban explosion, new technologies, without the so trendy gratuities today 3. mixed teams of very young Romanian and Spanish architects: Elena Nedelcu – together with Lluis Gimenez Mateu and Justin Baroncea, together with Jordi Perramon, Victor Centellas and Horaci Sanchez.

Organizers: “Ion Mincu” University of Architecture and Urban Planning main sPOnsOrs: Carpatcement, Graphisoft, Delta Distribution sPOnsOrs: Knauf, Titan Mar, Stage Expert, Franke, Hewlett Packard, Wienerberger, Cotnari, Cărturești, National Housing Agency, National Investments Company, Ruuki

Aleix Bague


Exhibition of architecture photography / 17.11–20.12.2004, Cărturești teashop

Aleix Bague is one of the major Spanish photographers of architecture. The exhibi‑ tion with original images was specially designed for the widest audience possible, that is why this space was selected – the teashop of Cărturești bookshop. Aleix Bagues’ photos are the perfect way in which those outside the profession can be attracted by architecture.

Organizers: Zeppelin team main sPOnsOrs: Carpatcement, Graphisoft, Delta Distribution sPOnsOrs: Knauf, Titan Mar, Stage Expert, Franke, Hewlett Packard, Wienerberger, Cotnari, Cărturești, National Housing Agency, National Investments Company, Ruuki

Zeppelin portfolio  

Set up in 2000 by architects Cosmina Goagea, Constantin Goagea and Ștefan Ghenciulescu, Zeppelin team edits a monthly review, organizes conf...

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