Documente Academic
Documente Profesional
Documente Cultură
Zone A
1. Maria Lambru Villa - 1928
5 Popa Savu Street Published in Contimporanul, no. 79, 1929 This is the first villa built by Iancu in the new North residential area of Bucharest.
Marcel Iancu
6. Hermina Hassner Villa - 1937
32 Pictor Iscovescu Street This is one of the last projects that Iancu designed in Romania. It was also realized after the period in which he had designed tenement houses. This house commission and the banker Hassners generous budget, allowed Iancu the freedom to experiment. He also integrated paintings, sculptures and cubist stained glass windows in the design. Above the hall fireplace was located his famous painting, Jardin du Luxembourg (1928), while the front door was enlivened by one of Mili\a P[tracus base-reliefs; neither of these survive.
Smaranda Br[escu
Parcul Ioanid
Dum bra
va
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Io n
S.Darvari
Gr[dina Icoanei
I .L .C a ra
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na ero
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e an
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st ru
Sf. Spiridon
laic u
Maria Rose
lui toru
Bd.
Salc ]mil
Dac
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C[luei
17
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Jean
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Pictor Romano
nte
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Popa Soar
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Popa Soare
m Ro
C. Kiri\escu
2 Charles de Gaulle Square Company headquarters and block of flats, ground floor and 7 upper floors. Built for the Bazaltin Company (which specialized in bridge and road construction) this is counted among Iancus rare projects, as it goes beyond residential architecture. The building, which is altered today, comprised three main functional areas: the headquarters of the company, a luxurious apartment stretching over several floors on the right side, and a tenement building with two studio flats and two flats on each floor on the left side.
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20 Caimatei Street Published in Contimporanul no. 102/1923 The building, constructed for Marcel Iancus wife Clara, was financed by the architect himself, and from 1931 the Iancu family lived there. The Iancu brothers Bureau for Modern Studies was probably located on the top floor. There is one flat on each floor. On the ground floor - slightly sunken - there were garages and service rooms. Iancu was very interested in dynamic and sculptural faades, as in Villa Fuchs.
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Jean
Popa Savu
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49 Kiseleff Highway Published in Contimporanul, no. 96-98, 1931, and in Architecture daujourdhui, no. 5/1934 This building today holds the residence of the Ambassador of Venezuela. Built for the Chih[escu family, it is a modern interpretation of the classical villa theme based on a central plan. In front of the house there it was a sculpture by Mili\a P[tracu.
Tub
E. Zola
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Doam na Ghi ca
Ion Arh.
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Mincu
la zue ne Ve
a coal
Florea
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nta Sf]
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cu
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ru ita
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dru
s. C
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ul
Arh
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acu
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cel
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ole
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Traian
an
ac h
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V. Dr[ghiceanu
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nti
e
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eru Cluc
efan Av. t vici Popo n Andrei dor D. Daria Coman inescu nstant N. Co C[linescu George
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ri T mu Ra
ei
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16A Dimitrie Onciu Street Built in the same residential area as the Chapier house, the building was obviously a real estate investment. Its aesthetics are not particularly expressive, the architect merely following a stylistic formula that conformed to the general direction of late 30s Bucharest modernism. Its interesting that the executed faade is different from the design submitted for the building permit.
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r rilo [ta Lop lui toru Pas t r lafa ple Ca Ke es ann Joh l iffe ul E Turn
Cr
Pa vel
iste aM
ate e sc
lui
en
Londra
Bruxelles
ris
Pa
Ian iB uz oia nu
t Bo E. ez
Te iu lD
Ispravnicului
oa m
os . Kis elef f
ne
Varovia
Belgrad
a bon Lisa
Parcul Circului
oituzului
H.
an m m .A Th
P]rgarilor
Zone B
8. Housing in Trinit[\ii Alley
25-29 Maximilian Popper Street (Maior Zenovie and Vameul Raco\eanu Streets) In 1922 Herman Iancu, Marcel Iancus father, opened an alley in the old Trinit[\ii Street. Marcel Iancu built the first modernist house in Bucharest there in 1926, while the remaining part of the allotment was approved 8 years later. The Iancu brothers designed 13 buildings on this land. These are set back from the street line and include an apartment at each level. Parts of these buildings have been demolished and other sections restored.
ilor
Re
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ff sele
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Dr. Iacob
lac iha
u
Dr. C.
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Pia\a Victoriei
scu
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i Mo
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la de
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Al.
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55 Maximilian Popper Street Built for the architects father, this buildings design is unusual for two reasons. Its alignment was determined by a town hall regulation facilitating the opening of a new street, and it must also be attached to an existing structure. Marcel Iancu lived in one of the apartments until 1931, when he moved out to Caimatei Street. Marcel Iancu's studio occupied the top floor of the building, which was smaller in plan than those below, and does not appear in the construction authorization. The house is remarkable for its artistic qualities, the architect having exercised great freedom in a house he designed for himself. This aesthetic experiment recalls a plaster relief he created in Zrich, after 1917. The most spectacular feature of the building was the colourism of its faade. The aesthetic qualities expressed in this building, known as the first example of modern architecture in Romania, are not typical of later development of Modernism in Bucharest. Its polychrome faade and its exceptional shape would have been a confronting sight to the inhabitants of this quiet area, situated near Hala Traian. This building represents an important phase of Iancus architecture, when his artistic interests were more noticeable.
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St. Cihosc
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Urban route
Marcel Iancu
The beginnings of modern architecture in Bucharest 1929 - 1938
This urban route constitutes an introduction to Bucharests modern architecture, through the work of Marcel Iancu (1895-1984), one of its initiators. The itinerary comprises two main zones of Bucharest, the North and the Center of the city, known in the 30s as the Yellow sector and the Black sector. This selection of buildings includes 18 houses and blocks that are emblematic of the beginning of modern architecture in Bucharest, drawing attention to this very interesting layer of the city. The buildings have been designed by Marcel Iancu, sometimes with the support of his brother Iuliu. Together they owned an architecture office called the Bureau of Modern Studies. Because most of the buildings have been changed in a major way, it is necessary to compare present images with original ones. Thus, the thematic map is illustrated with drawings and documents published in periodicals of the time (1924-1938). Documents selected from the construction authorizations preserved in Bucharests City Hall Archive and images from periodicals of the time have been added, in order to give a clearer representation of the buildings initial aspects. An important reference was the research included in the catalogue Marcel Iancu Centenary 1895-1995, Simetria, Bucharest, 1996, coordinated by Anca Boc[ne\, Nicolae Lascu and Ana Maria Zahariade. The route offers you a chance to explore Bucharests urban and social history. It also provides tools to evaluate contrasts between 20s and 30s architecture, and the communist and post-communist styles. The words of Marcel Iancu, concerning Bucharest and its utopia are still as The Sciences and Voyages Journal, 1932 persuasive today as they were in the past: I feel its imperative that Bucharest should be reconstructed; I have tried to sketch a new urban orientation that can be perceived as utopian. In fact, urbanism is an art that should scrutinize into the future. The city builders lacking foresight will be always left behind real life. (Towards an Architecture of Bucharest, Bucharest, 1935). We undergo a stage of full recovery. The buildings in the commercial center grow higher and higher, the old and uncomfortable houses make room for central blockhouses, while the very few courtyards and gardens vanish every minute In 1935 attitudes to Bucharests urban future were very optimistic: Luckily, Bucharest is a young town, at the beginning of its urban growth, and thus spared of the exaggerated architectural development that led to unhealthy and overcrowded Western towns during the last century Should we follow the same chain of mistakes that Western countries already have experienced and finally learnt their lesson? What we can do in Bucharest today, cannot be achieved in the future. Modern style demands modern urban planning. Thus in 50 years, Bucharest will turn into a happy, healthy town with gardens, a garden-city with parks and palaces Every age has its own picturesque landscape and, no matter how pathetic ruins may look, we vote for the present, colorful life and its picturesque ambiance. We have no time to lament over the past; our duty is to see what we can do about the future... In Urbanism, by no means romanticism, an article from 1932, published in Oraul (The City), Iancu underlines his trust in a visionary attitude, leaving behind the past and its nostalgias: Our city, the capital of our country, is summoned to take up a European form and goal ... The modern house is just one facet of the new interior life organization, tightly intertwined with urbanism. The essence of the whole new architectural problem lies in the balance and coordination of exterior and interior values. (Contimporanul, September, 1931). At the same time as the proclamation of his esthetic program in Contimporanul, Iancu published many articles in periodicals such as Oraul (The town), Arta i Oraul (The Arts and
deserves mention because it represented Iancus decisive step towards modernism. The Fuchs villa was also one of the very rare cases in which details concerning the architectclient relationship are known, including the latters influence on the project. In an interview published in 1930 in Rampa magazine, Iancu declared: The first modernist house in Bucharest was also the first of this kind in Romania. I built it for a wine merchant who happened to read foreign art magazines and seemed to enjoy new architecture. He told me he had one million lei and a building lot and would give me a free hand. All he wanted was a modernist house. The novelty of this design drew the publics attention and shocked many people. In the same interview Iancu recalled that: The house I built in that area was a sensation. The priest, the policeman and the people were convinced that I had erected a laboratory which was out of place in their neighborhood. The critics, inspired by the peoples reactions, were ironical and skeptical about this kind of new architecture: The neighbors cant understand why instead of the traditional windows the house has but one window, covering the whole width of the faade, like a morgue display window. Instead of one attic window, usually placed in the roof, there are three, as if there were first class
Fuchs Villa
It is actually ironic that the critical ambience of Bucharest in the 1930s, when Iancu and his modernist fellows protested against deplorable systematization, is to an extent being repeated nowadays. Among the buildings that have suffered are those which were built in the period between the wars including Iancus houses. Many buildings situated in the areas where Marcel Iancus houses are located were demolished during the communist period and after 1989. Many of those which were not demolished are nevertheless in a very bad state of preservation. Buildings like that designed by Iancu which is located on Pictor tefan Luchian Street are in urgent need of structural consolidation. Moreover, the social and legislative situations of these buildings reflect closely the historical and political events of the last 75 years. First, most of the buildings Jewish owners suffered violent Legionary persecution (the extreme right party) around the end of the 1930s, and certain houses have witnessed bloody scenes (as Jacques Costin house). Iancu himself was forced to go into exile in Palestine, in 1941. After World War II and the installation of the communist regime, most of the proprieties were appropriated by the Communist State, through the Nationalization Law (no. 119, July 11, 1948) Marcel Iancu and the Decree of April 1950, which listed buildings to be Jacques Costin nationalized (buildings owned by former industrial entrepreneurs, former landed gentry, former bankers, former important business men and other elements of the high bourgeoisie). In some situations, the owners had to accept tenants in their own houses. Most of Iancu brothers clients belonged to this category. Their buildings consequently suffered changes brought about by the nationalization process and were also transformed socially. This can be observed particularly in those areas where many buildings were demolished during the communist period, for example around the Herman Iancu house, located on Maximilian Popper Street. Some houses and apartments have, in recent years, been affected by the development of legislation concerning propriety and, in keeping with the Restitution Law no. 10 of 2001, have been returned to their owners. Architecture drawings, published in Contimporanul, 1925
Dada movement. As a member of the Dadaist group, Iancu conducted his first experiments in collage, abstract relief and sculpture. These works are considered among the most courageous and original experiments in abstract art. During this period the artist came into contact with the most important personalities of the international avant-garde of Italy, France and Germany. Along with Hans Arp, Alberto Giacometti, Baumann, and Tauber, Marcel Iancu formed the group Das Neue Leben in 1918. The group held a series of exhibitions, lectures and manifest-demonstrations in the cities of Switzerland. After a brief period spent in France, Marcel Iancu returned to Bucharest. From 1921, for ten years, together with Ion Vinea, Iancu was the editor of Contimporanul avantgarde magazine, in which he promoted his aesthetic ideas. Contimporanul was published weekly between 3 July 1922 and 7 July 1923, and monthly between April 1924 and January 1932. Mili\a P[tracu, B. Fundoianu, Felix Aderca, Ion C[lug[ru, Camil Petrescu, M.H. Maxy, and Victor Brauner were among frequent contributers to the magazine. Under the auspices of the publication were organized intensely promoted individual and group exhibitions. For example, a large international
The urban itinerary Marcel Iancu (Janco) - the beginnings of modern architecture in Bucharest was published in conjunction with the project Marcel Iancu (Janco) - the architect. The project is implemented by E-cart.ro Association with the support of the following partners: The Simetria Foundation for Urbanism and Architecture within The Chamber of Romanian Architects, The European Center of Culture in Sinaia, Australians Studying Abroad in Melbourne, Ra\iu Foundation UK, The Romanian Cultural Institute, C[rtureti Book Stores. The project constitutes an interdisciplinary research of Marcel Iancus architecture. The project has benefited from the financial support of the Administration of the National Cultural Fund, Visual Arts and Architecture area 2008. Concept/ Project Coordinator: Project Manager: Research Coordinator: Researchers: PR: Research consultancy: Edited by: Graphic Design: Photos: Translation: Photografic credits: Doina Anghel Angelica Iacob Doina Anghel Ana Maria Guguian, Angelica Iacob, Mihai Pl[m[deal[, Augusta Milena Pop, Silvana Rpeanu Veronica Leca Alexandru Beldiman, Mariana Celac Simetria, E-cart.ro MBStudio - Marius Marcu-Lapadat, Octavian Carabela Octavian Carabela, Angelica Iacob, Mihai Pl[m[deal[ Angelica Iacob, Christopher Wood The National Museum of Romanian Literature The Romanian Academy Library Bucharests Town Hall Archive The National Museum of Art of Romania Editura Simetria
Special thanks to: The National Museum of Art of Romania, The Chamber of Romanian Arhitects, erban Sturdza, Christopher Wood, Irina Cajal, Elena Fluerau, Daniel Nicolae, Cristina Caute, Codru\a Cruceanu, Adrian Notz, tefana M[rmureanu, Monica Grigore, Ramona Mitric[, Irina Ionescu Printing house: S.C. COLOR DATA S.R.L. www.colordata.ro Copyright: 2008, E-cart.ro, Editura Simetria All rights reserved. This is a non profit publication printed in 5000 copies.
cabins in an ocean liner, while the garage looks like a local branch of the central crematorium. It is noteworthy that all buildings constructed before 1934 by Marcel Iancu were signed, in the building permit, with the name of another architect (usually Constantin Simionescu). Marcel Iancu only gained the right to use his own signature in 1934, when he was accepted into the Chamber of Romanian Architects. The first modernist buildings designed by the Iancu brothers were built in 1926-1927. Suchard Pavilion, published in Contimporanul, 1926
exhibition was set up in December 1924, in which artists from all over Europe participated. From 1925, Contimporanul broadened its spectrum, publishing special editions accompanied by programmatic articles devoted to fine arts, architecture, sculpture, crafts, and to personalities such as Constantin Brncui. Iancu published a series of drawings and presentations of buildings he had designed in Bucharest, and articles about urban planning, architecture and art in the pages of the magazine.
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Drawings for a country house Contimporanul, 1931 the City) in which he strongly promoted modernist ideas. Iancu accentuates the connection between modern architecture and avant-garde experiments, fully aware of his own contribution to the artistic avant-garde movement: Modern architecture followed cubism. He equally identifies strong ties with Dadaism, the esthetic movement to which he ascribes the idea of interconnections between abstract art and architecture. He payed special attention to the interior design of modern buildings; in his opinion, the characteristics of a modern interior are synonymous with the goals of the new aesthetics. This interest in interior design is reflected in some of his works included in this thematic map. Iancu introduced a new kind of modern residential architecture to Bucharest, the modern villa, built for a bourgeoisie with progressive views. The houses benefited from a kind of comfort that pays no tribute to wealth, as Iancu put it. Although the Villa Jean Fuchs (27 Negustori Street, 1927-1929) is severely altered, it
After a journey to Western Europe, to Germany (where Marcel Iancu might have seen certain achievements of the Bauhaus school) and France (where he met Robert Delaunay), Iancu returned to Bucharest and designed two houses on Trinit[\ii and Ceres streets, and a pavilion for the Suchard factory at Trgul Moilor (an old fair of Bucharest). From the early 1930s, the Iancu brothers Bureau for Modern Studies received plenty of commissions. Mass media representatives and fellow architects thus began to pay attention to Iancus architecture. In January 1931, Contimporanul published a letter addressed to Marcel Iancu by the young architect G. M. Cantacuzino, who had just returned from studies in Paris. This letter is a declaration of commitment from G. M. Cantacuzino and represents the first public recognition of Marcel Iancus work voiced by an architect: You were the first to turn your back on the sterile, exhausted mentality in this country. In our chaotic, town ruled by mediocre and Balkan-like chaos and petty triviality as the poet Tudor Arghezi said, your healthy houses come up as healthy premises for a healthy future, when vigorous activity is not hindered by idle admiration of the past. The most original aspect of Marcel Iancus architectural work comes from his duality as a painter-architect. This feature is recognizable especially in the plastic solutions of his faades. The art critic Sandu Eliad wrote the most insightful remarks on Iancus architecture: None of Marcel Iancus houses seem to look alike, though they have the same architectural basis, that is, a strict observance of the laws I have mentioned above (city regulation, physical laws of the material, technical possibilities and the economic demands). The diverse interplay of volumes, the daring rhythm of voids and compact walls, the alternation of verticals and horizontals, although derived form the arbitrary dictates of the requirements of the interior, all owe their symmetrical and asymmetrical equilibrium and architectural playfulness to his artistic sensitivity alone. Furthermore, the successful integration of the building into the atmosphere of the street and landscape is due to his being an Drawings for Villa and Cinema accomplished colorist. In the circle of Oraul (The City) publication, whose members numbered Sandu Eliad, Cicerone Theodorescu, and D. Anagnoste, Iancu was seen as: the Romanian architect who enjoyed the most enviable reputation in the world of European modern architecture. When he returned to Romania his celebrity was already recognized. Being the leader of the avant-garde group of Contimporanul, Iancu remains the initiator of modern Romanian architecture, a complex artist who brings new and essential ideas. He is a real revolutionary. (Oraul, 1934).
Painter, graphic artist, architect and theoretician, Marcel Iancu (Janco) is one of the most important personalities of the avant-garde movement. He was born to a Jewish family in Bucharest, in 1895. His work can be divided into three major periods: participation in founding and promoting the Dadaist movement from Zrich; leading the avant-garde group of Contimporanul in Bucharest; and engaging in reviving the artistic life of Israel. In 1983 he helped found the Dada museum in Ein Hod which bears his name.
Marcel Iancu was part of a group that centred on Simbolul (The Symbol) magazine, along with Tristan Tzara and Ion Vinea during his high school years in Bucharest (1912 to 1913). After completing high school, Marcel Iancu left Romania for Zrich, together with his brothers Iuliu and George, in order to study architecture. He was an associate of Tristan Tzara at the Cabaret Voltaire in Zrich during World War I. The nucleus formed at Cabaret Voltaire in 1916 (along with Hugo Ball, Emmy Hennings and Hans Arp) founded
The editorial staff of Contimporanul magazine was housed on Imprimeriei Street, no. 53 (the building no longer exists today), and the administration was located on Trinit[\ii Street, where Marcel Iancu lived for a while (the current name of the street is Maximilian Popper). By 1941, when he left Romania, Iancu had pursued an effervescent artistic career, both in architecture and painting. Together with his brother Iuliu he built 40 modernist houses and blocks in Bucharest. His career as architect blossomed in the '30s, when he was already very popular in avantgarde arts media, as a painter, journalist and graphic artist. He finally settled in Israel, where he founded the artists colony of Ein Hod in 1953, devoting himself to painting. Janco Dada Museum in Ein Hod near Haifa holds an impressive collection of his works. Text by Doina Anghel Marcel Iancu Hans Arp
Urban route
Marcel Iancu
The circle of Simbolul, 1912. From left to right: Samuel Rosenstock (Tristan Tzara), unknown, Marcel Iancu, Iuliu Iancu, Poldi Chapier, Eugen Iovanaki (Ion Vinea)