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igloobooks

PRO
D

e ce are nevoie o cldire public, o cldire terminat,


o cldire eminamente comercial, ce funcioneaz
deja de ceva vreme (respectiv fix un an la data la
care scriu eu), de o carte? Iat o ntrebare de nceput de
prefa, pe ct de legitim pe att de serioas, pe care
m-am grbit s o formulez eu, din dou motive: ca s am
ansa s explic cartea i, totodat, ca s nu las spiritele
(maliios-) critice s se bucure de ea.
Primul rspuns pe care vi l-a oferi, cel mai simplu i mai
direct, este c merit. Cldirea Promenada i-a asigurat, prin
calitatea proiectului i a execuiei, o poziie de prima mn
pe harta arhitecturii bucuretene contemporane.
Cine contest asta este fie nepriceput, fie nesincer.
Al doilea rspuns, ce vine n continuarea primului, este
c asemenea cldiri e bine i firesc s i aib propria
biografie, propria monografie, propria radiografie. Astfel,
cei interesai pot nelege mai bine procesul prin care se
poate ajunge la asemenea rezultate, pot cunoate oamenii
din spatele proiectului, de la arhiteci i colaboratorii lor mai
tehnici, la dezvoltatori i operatori. Cci o cldire de acest
gen nu este numai o carcas arhitectural i inginereasc, ci
un organism viu, al crui metabolism este parte a succesului.
Tocmai de aceea, cartea noastr, subintitulat radiografie,
ncearc s treac dincolo de aspectul fizic, de aparena
cldirii, pentru a surprinde cte ceva din mecanismele

interne ale fabricrii i funcionrii sale. Interviul cu


arhitectul i celelalte texte, pozele din antier, planurile
i schiele sunt aici n acest scop. Totodat, cartea nsi
ncearc s surprind i s expun ceva din personalitatea
cldirii, ntr-un demers care vrea s transforme obiectulcarte ntr-un descendent direct, cu filiaie explicit, al
obiectului de arhitectur.
Un ultim rspuns la prima ntrebare ar putea fi cutat i
n faptul c suntem prieteni cu Theo Stancu, arhitectul
titular al proiectului, vechi i solid partener (prin proiectele
publicate) al editurii noastre, dar asta nu e un lucru pe care
s l spui ntr-o prefa, nu-i aa? Oricum, felicitri, Theo, i
atept s ne mai ntlnim pe hrtie.
n final, i poate chiar i n ultimul rnd, trebuie s v
mai spun c, odat cu cartea pe care o inei n mn,
igloomedia inaugureaz un nou capitol n existena
sa tiprit, acela al crilor dedicate unor obiecte de
arhitectur, unor cldiri. Nimic nou sub soare putei obiecta,
lucrul s-a mai fcut, nu suntem nici pionieri, nici originali.
Corect. Era ns, fr ndoial, momentul s ne completm
i noi, ca editur serioas, dar vioaie ce suntem, portofoliul
de produse specializate. Iar a ncepe cu Promenada ne
onoreaz i ne bucur n egal msur.

E NADA
01_101_Promenada(pagini comune).indd 6

arh. Bruno Andreoiu

12/11/14 12:30

OME
W

hy is a public building, a completed building


and a fundamentally commercial one, already
in use for some time (namely precisely a year
at the time of my writing), in need of a book? Here you
have a question worthy of a foreword commencement, as
legitimate as it is serious, which I rushed to formulate for
two reasons: to get a chance to explain the book, also to
get ahead of the critical (malicious) spirits.
The first answer Id offer, the most simple and direct, is that
its worth it. The building of Promenada secured, by the
quality of its project and execution, a first hand position
on the map of contemporary architecture in Bucharest.
Whoever challenges this is either inexperienced, or
insincere.
The second answer, rising as a follow up to the first one,
is that it is only good and natural for this kind of buildings
to have their own biography, their own monograph, their
own radiography. Thus, the interested can better grasp the
process that leads to this kind of results, can get to know
the people behind the project, from architects and their
more technical collaborators to developers and operators.
For a building of this kind is not only an architectural
skeleton, but also a living organism, whose metabolism is
part of its success.
Precisely for this, our book, subtitled radiography, tries

to reach beyond the physical aspect, the buildings


appearance, in order to capture some of the internal
mechanisms of its fabrication and operation. The interview
with the architect and other texts, the images from the
construction site, the plans and drawings are all here with a
purpose. At the same time, the book itself tries to capture
and expose a certain aspect of the buildings character, in
an endeavor meant to turn the book-object into a direct
successor, within an explicit lineage, of the architectural
object.
A final answer to our first question can be found in the fact
that we are also friends of Theo Stancus, the projects main
architect, an old and solid partner (with published projects)
of our publishing house, but this isnt something you
mention in a foreword, is it? Anyways, I congratulate Theo
and I am waiting for our next meeting on paper.
Last, and maybe least, I need to tell you that starting with
the book you are currently holding, igloomedia is initiating
a new chapter in its printed existence, of books dedicated
to architectural objects, to buildings. Nothing new under
the sun, you might plead, this has been done before, and
we are neither pioneers nor original. Thats right. But it was,
undoubtedly, the time for a serious, yet playful, publisher like
us to fulfill our portfolio of specialized products. And having
Promenada as a starter is both an honor and a joy.

NADA
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8
Un dezvoltator ndrzne
pe piaa din Romnia
Unul dintre cei mai experimentai dezvoltatori de pe scena european,
Raiffeisen Evolution deine un portofoliu impresionant, ce cuprinde cldiri
rezideniale i de birouri, hoteluri, centre comerciale, centre specializate
de retail, dar i proiecte multifuncionale. Gert Widu, desemnat manager
de proiect pentru Promenada, ne-a explicat ce nseamn aventura unui
dezvoltator ndrzne pe piaa din Romnia, dar i motivele pentru care
Raiffeisen a ales proiectul propus de B23T.

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A daring developer on
the Romanian Market
One of the most experienced developers on the European market,
Raiffeisen Evolution has an impressive portfolio that encompasses
residential and office buildings, hotels, shopping centers and
multifunctional projects. Gert Widu, Project Manager for Promenada,
told us all about the adventures of a daring developer on the
Romanian market, as well as about why Raiffeisen went
with B23Ts project proposal.

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10

Q: Raiffeisen Evolution este un dezvoltator cu mult


experien. Ce v-ai dorit de la acest proiect i n ce msur
s-a materializat planul iniial?
A: n decembrie 2009, am primit aprobarea de a pune n
practic proiectul n anumii parametri. Acetia au fost stabilii
pentru construirea unei anumite suprafee nchiriabile, ntr-un
anume timp i cu un buget fix. Toi parametrii au fost meninui
sau poate chiar depii. Aa c, procentual vorbind, a spune
c n msur de 115%.

Q: Raiffeisen Evolution is a very experienced developer.


What did you want from this project in the first place and
what percentage of this initial plan was put into practice?
A: In December 2009 we received the approval for
implementing the project in certain parameters. These
parameters were set for building a certain GLA (Gross
Leaseable Area n.r.), in a fixed timeframe with a fixed
budget. All of the parameters were kept, or overdone. So, in
percentage, I would say 115%.

Q: Ce v-a fcut s alegei propunerea biroului B23T?


A: Imediat dup aprobarea proiectului, am nceput s ne
interesm de serviciile unui specialist. Aa c am solicitat
propuneri de proiecte din partea unor arhiteci din Romnia,
dar i din afara rii. Totul s-a bazat pe un brief foarte elaborat.
Ne-am informat n legtur cu referinele i experiena tuturor
birourilor care s-au artat interesate, pentru a ne asigura c
arhitectul pe care l vom contracta va fi n msur s furnizeze
cu succes toate serviciile pe care le solicitam. n cele din urm,
echipa a hotrt s ne oprim la un arhitect local, pentru a
ne asigura c vor fi respectate gusturile i cerinele grupului
int. B23T s-a prezentat, per total, cel mai bine din acest
punct de vedere i am inut cont i de background-ul lor semiinternaional.
Ideea iniial a fost s crem ceva nou, un mediu comercial
de ultim generaie, care s corespund locului i nevoilor
publicului. Forma final i arhitectura proiectului au fost
generate printr-un proces iterativ ce s-a desfurat pe
parcursul a 6 luni.

Q: What made you choose the proposal of B23T studio?


A: Soon after the project approval, we started to search for the
design services of the general planner. We asked several local
and international architects to send their offers. This was based
on an extensive architectural brief. We checked the references
and the offices of all bidders, in order to make sure that the
future general planner will have the capacity to successfully
perform all services. Eventually, the team decided to go with
a local architect, to make sure that the project will meet the
target groups taste and needs. From this point of view, B23T
had the best overall package, considering also their semiinternational background.
Our initial idea for the project itself was to create something
new, a third generation shopping environment matching
the location and the needs of the target audience. The final
shape and architecture of the project were created through an
iterative process which took us about 6 months.

Q: Care a fost principala provocare cnd ai construit


Promenada?
A: Pe parcursul etapei de execuie, a fost vorba despre
ncadrarea n timp i de schimbrile aprute din cauza
cerinelor privind nchirierea. Pentru dezvoltarea n sine a fost,
n principal, vorba despre procesul de nchiriere, dat fiind
c pentru a obine finanare este nevoie de o pre-lansare a
spaiilor. i, innd cont de situaia pieei n condiii de criz,
aceasta a fost cu siguran cea mai mare provocare pentru
dezvoltator.
Q: Care considerai c sunt punctele forte ale proiectului, n
contextul pieei de centre comerciale din Romnia?
A: Locaia, care beneficiaz de servicii foarte bune de transport
public, dar i de accesibilitate ridicat a mainilor, mprejurimile

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Q: What was the main challenge when building


Promenada?
A: During the construction stage, the main challenges were the
tough timeframe and the changes that occurred due to tenant
requirements and the letting process. For the development
itself, it was mainly the letting process, since one needs a
certain pre-lease in order to get financed, and considering the
market-situation after or within the financial crisis, this was for
sure the main challenge.
Q: Which are the main strengths of the project in the
context of the Romanian mixed-use retail market?
A: The location, with its very good public transport and car
accessibility, neighborhood and visibility (featured by the
SkyTower). Then, the international tenants mix, with a high
percentage of anchor tenants. For sure, also the new modern
concept and architecture, creating a lifestyle environment

12/11/14 12:30

Q: Ai schimba ceva n momentul de fa la proiect?


A: Nu lucruri importante. Dac m-ai ntreba ce am face diferit
data viitoare, a avea cteva idei, dar nimic excepional.
Q: Care au fost cele mai importante schimbri care au
survenit ntre primele i ultimele etape ale procesului de
construcie?
A: Am ncercat s fim foarte flexibili n ceea ce privete
cerinele de nchiriere. Despre ce a fost vorba? Procesul de
nchiriere ncepe n momentul n care chiriaul i alege locul.
Apoi, acesta decide forma viitorului su magazin, lucru ce
a dus la modificri la nivelul ntregului proiect. Forma final
s-a conturat pas cu pas. Alte schimbri au survenit n partea
tehnic, suplimentarea ventilaiei, sisteme de rcire a aerului
care s rspund cerinelor chiriailor. Acestea ar fi exemple de
schimbri importante care au aprut.
Q: Cum a decurs colaborarea cu B23T n faza de concept?
A: Am avut o colaborare foarte bun i rapid cu B23T, la
momentul respectiv. n total am fcut 22 de modificri pn la
conceptul final, iar asta a durat 3 luni de zile. Desigur, mai apoi

01_101_Promenada(pagini comune).indd 11

11

i vizibilitatea (potenat de Sky Tower). Apoi, mixul de chiriai


internaionali, cu un numr mare de chiriai ancor. Desigur, i
conceptul nou, modern i arhitectura n sine, care creeaz un
mediu conform cu stilul de via al unei noi generaii, alturi de
rezultatul de foarte bun calitate al ntregului proces, lucruri ce
au atras certificarea DGNB cu cel mai mare rating pe care l-a
obinut vreodat un centru comercial. De asemenea, a vrea
s adaug c proiectul prezint n continuare o varietate de
avantaje, dat fiind cadrul fizic n continu cretere i potenialii
clieni care se mut n zon i vor genera vnzri adiionale.

for a new generation and the high quality result of the entire
process, awarded by DGNB with the highest rating ever given
to a shopping center. Also I want to mention here that the
project still has a lot of opportunities, meaning the location is
growing, new customers are moving into the area and will bring
additional turnover.
Q: Is there anything that you would change in the project
at the moment?
A: Not important things. If you would ask what we would do
differently the next time, I would have some ideas, but nothing
exceptional.
Q: Which were the most important changes that occurred
between the initial and the final stages of the construction
process?
A: We tried to be very flexible with the tenant requirements
in order to support the letting process as much as possible.
What was it about? The letting process starts when the tenant
chooses its location; after that he chooses the shape of the
future shop; this leads to changes within the entire project. The
final shape took form piece by piece. Other changes were on
the mechanical part, additional ventilation, increased cooling
load to match the tenants requirements. Those would be
examples of important changes that occurred.
Q: How did the collaboration with B23T go in the concept
phase?
A: We had a very good and fast cooperation with B23T at that
time. Overall we did 22 revisions until we had the final concept
and this took us 3 months. Of course, other revisions occurred
also later on, but the envelope was already fixed at that point.

12/11/14 12:30

De vorb cu arhitectul
Cu fiecare nou proiect care i poart semntura, Theo Stancu confirm
faptul c arhitectura adevrat nu se poate face dect cu pasiune,
talent i atenie la detalii. n portofoliul biroului pe care l conduce,
B23T, Promenada deine un loc de frunte prin abordarea inedit n
peisajul centrelor comerciale autohtone. Aa c l-am invitat s ne
dezvluie ce nseamn lucrul la un proiect de asemenea anvergur, ce
anume l inspir n procesul de creaie i cteva dintre secretele care au
fcut ca Promenada s se bucure de succesul pe care l are n prezent.

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17
Talking to the architect
With each new project bearing his signature, Theo Stancu confirms
that true architecture can only be practiced with passion, talent
and attention to details. In the portfolio of B23T, the studio he is
managing, Promenada is one of the leading projects, through
its unique approach in the local landscape of mixed-use retail
centres. So we invited him to reveal what working on a big scale
project feels like, what inspires him in the creative process and a
couple of the secrets that made Promenada enjoy the success it has.

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20

Q: Cum ai tratat aceste spaii ca s nu devin anoste?


A: Complet diferit de proiecte similare, am dat amploare
acceselor ctre toalete, mobilndu-le cu spaii n care
publicul s i poat depozita bagajul de mn, s i poat
extrage bani din ATM-uri, s poat s se aeze confortabil n
ateptarea celor cu care au venit la mall i care pentru un scurt
timp au nevoie de un popas.

Q: How did you treat these spaces so they dont become


bland?
A: Completely different from other similar projects, we
extended the entrances to the restrooms, furnishing them
with hand luggage storage spaces, ATM machines, and
comfortable resting spaces for the visitors, where they could
wait for their companions or take a break for a moment.

Q: Lsnd deoparte terasa i spaiile comerciale, cum ai


gndit restul spaiilor publice?
A: Exist puncte cheie, n care trebuie amplasate cafeterii
sau baruri ceva legat de alimentaie i astea sunt de
regul intrrile. Iar acest mall are dou intrri, una din Calea
Floreasca i una din Barbu Vcrescu, i am ncercat tot timpul
s nu difereniem mult aceste dou intrri, s devin poate la
fel de importante. Apoi, am acordat atenie interseciilor de
alei, de circulaii. Aici sunt amplasate alte puncte de interes,
precum magazine temporare, spaii surpriz.

Q: Besides the terrace and the commercial spaces, how


did you plan the rest of the public spaces?
A: There are key spaces where you need to place cafeterias
and bars something linked to nutrition and these are
usually the entries. As this mall has two entries, one from
Calea Floreasca and one from Barbu Vcrescu, we tried to
avoid any differentiation, to keep them both just as important.
Then, we paid special attention to the intersections of paths,
to circulation nodes. Here we placed further points of interest,
such as temporary stores or surprise spaces.

Q: Terasa este punctul cel mai atractiv al proiectului. De


unde a venit ideea ei?
A: Terasa suplinete lipsa cinematografelor. Este firesc ca o
teras descoperit de dimensiunea unui teren de fotbal s
capete i spaii verzi. Sigur c o vegetaie bogat nseamn
i un strat de pmnt corespunztor ca adncime, lucru
care ngreuneaz cldirea i are impact asupra dimensionrii
elementelor structurale ale cldirii. i aici s-a ales cu grij
ponderea uneia fa de cealalt.

Q: The terrace is the most attractive point of the project.


Where did the idea come from?
A: The terrace compensates for the lack of cinemas. It is only
natural that an open terrace the size of a football court gets
green spaces. Of course rich vegetation requires an adequate
layer of earth in depth, which in turn puts weight on the
building and impacts the dimension of the buildings structural
elements. Here too we carefully considered the proportions
between the two.

Q: Exist surse anume de inspiraie pentru aceast zon?


A: Terasa urmeaz acelai limbaj arhitectural de care aminteam:
linii curbe, spaii ample, perspectiv i, ntr-un cuvnt, aerisit.

Q: Are there any sources of inspiration for this area?


A: The terrace follows the same architectural language I
was talking about: curved lines, wide spaces, perspective
and, in a nutshell, airy. It was important to define from the
beginning the location of the screen, for shows or screenings.
We established a maximum capacity for guests, naturally a
number that respected the requirements of eviction in case
of fire. Then, we established what functions should be met
besides the shows: the bars, their number, green spaces, and
playgrounds. From the very beginning we knew that malls,
generally, have a low occupancy during the day, especially
from early morning till noon. The categories most likely to
populate it are women with children or grandparents bringing
the children to the playgrounds and young people that
may have other schedules than adults. Thus we designed
a playground for children and an area for youngsters that

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Q: Interiorul mall-ului e un adevrat spectacol, iar un rol


important l are iluminatul. De ce ai ales acest timp de
iluminat i cu cine ai colaborat?
A: Iluminatul, la faza conceptual, a fost fcut de o firm
austriac excepional, care, ntre timp, a i disprut de
pe pia. Conceptul a fost gndit de acetia n urma unor
discuii pe care le-am avut i n care am cerut anumite efecte
i rezolvri convenite n prealabil, de comun accord, cu
investitorul, pentru c, la sfritul zilei, toate se traduc n
bani. Un criteriu major a fost ponderea pe care o vor avea
tehnologiile noi LED, apoi acel raport ntre lumina natural,
care intr prin luminatoarele din teras i care strpunge prin
golurile de supant, prin void-uri i ajunge pn la subsol, i
cea artificial. Iluminatul natural trebuie s fie bine compensat
de cel artificial i aici ne-am dat seama c trebuie s
accentum, prin iluminat, voidurile. Am trecut prin tot soiul de
variante, mult timp agai de posibilitile de producie ale
unor corpuri de iluminat speciale. n cele din urm, s-a gsit
un furnizor potrivit i s-au putut realiza.

21

Amplasarea ecranului pentru spectacole sau vizionri a fost


important de definit ca poziie i amploare. S-a stabilit un
numr posibil maxim de participani, numr ce avea legtur
i cu evacurile n caz de incendiu, bineneles. Apoi am stabilit
ce funciuni ar trebui s fie cumulate, n afar de zona de
spectacole: barurile, numrul acestora, spaiile verzi, spaiile
pentru copii. De la bun nceput am hotrt c mallurile, n
general, au o ocupare deficitar n timpul zilei, cel puin din
primele ore ale dimineii pn n prnz. Categoriile de vrst
care populeaz mall-urile sunt femei cu copii sau bunici care
aduc copiii s se joace n spaiile special amenajate i sunt
tinerii, care au poate un alt program dect adulii. i aa au
aprut locul de joac pentru copii i zona pentru tineret, care
urma s aib ceva dotri media, mai n ton cu zilele noastre. Ne
imaginam c tinerii pot ocupa o anumit zon din aceast teras,
i pot crea propriul ambient mutnd mobilierul, se pot loga la
reeaua cldirii sau i pot pune muzica pe care vor s o asculte.

was going to have some media equipment more attuned


to modern times. We imagined young people occupying a
certain area of the terrace, creating their own environment by
moving the furniture, logging on to the building network and
playing the music they want to listen.
Q: The malls interior is a true spectacle and the lighting
plays an important role in this. Why did you choose this
type of light and whom did you work with?
A: The lighting, in conceptual stage, was designed by an
outstanding Austrian company, which in the meantime went
out of the market. They designed the concept following a
series of discussions where we asked for certain effects and
solutions that were agreed in advance with the investor as,
at the end of the day, all this translates into money. A major
criterion was the share of LED technologies, followed by a
balance between daylight, permeating through the terrace
luminaries and piercing the hollows of the withdrawals, the
voids, finally reaching the underground, and the artificial
lighting. The daylight needs to be properly compensated
by artificial lighting and we realized that we had to use light
to emphasise the voids. We considered all kind of options,
pondering for a long time on the possibility of ordering
customized lighting fixtures. In the end, we found the right
supplier and this was feasible.

Q: Cromatica este, de asemenea, un factor care transform


Promenada ntr-un proiect inedit.
A: Dup ce am ales albul, mai precis o anume nuan de
alb, producie special, la contrast a venit negrul, de fapt
o anume nuan de gri. i pentru ca lucrurile s nu rmn
ntr-un manierism agresiv, a venit i culoarea, dar n doze mici,
considernd c marfa din magazine va fi destul de colorat,

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plan subsol 2
plan subsol 1
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Arhitectura

spaiului comercial
contemporan

The architecture
of the contemporary
commercial space
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nul dintre copiii de seam ai


capitalismului, arhitectura de tip mall
nc ncearc s i fac loc n zona de
est a Europei. Nu numrul, semnificativ,
de altfel, al acestor programe cu
caracter dublu economic i de
entertainment dicteaz verdictul
de integrare sau nu n context, ci
abordarea arhitectural. Dac n cazul altor programe
adaptarea la specificul zonei este un deziderat mai uor
de atins, n momentul n care vorbim despre aceste mari
centre comerciale nscute i crescute peste Ocean, ultimii
24 de ani nu au reuit s ne ajute s ne raliem perfect la ceea
ce nseamn cultura occidental. n esen, vzut drept un
ora la scar mai mic, poate mai ales datorit amplasrii n
suburbiile americane, ncet ncet, mall-ul a ajuns s capete,
odat cu mutarea n interiorul oraelor, caracter de pol urban,
pia urban. Doar c i aici abordarea i timing-ul dicteaz
rezultate diferite n funcie de zon.
n America, n special, aceste centre deja mbtrnite
sufer procedeul de de-malling, adic o upgradare prin
care un ansamblu ce adpostete funciuni comerciale i
de entertainment rspunde noilor nevoi de utilizare, prin
reconfigurare spaial i o spargere a cutiei prin punerea mai
accentuat n legtur a interiorului cu exteriorul. Fenomenul
poate fi neles prin prisma faptului c, peste Ocean, mall-urile
nu lipsesc, ci dimpotriv, exist n numr mare, dar au nevoie
de un lifting, de un proces de regenerare. Odat cu acest
proces, apare i atenia ctre sustenabilitate, cci un mall se
nate, este utilizat, dar se i stinge, dac nu este gndit ca un
organism viu, privit n aceeai oglind cu nevoile societii pe
care o deservete. n caz contrar, mall-ul devine un non loc
destinat unei societi a consumului i a excesului, cum spunea
antropologul francez Marc Aug.

01_101_Promenada(pagini comune).indd 40

ne of the notable offsprings of capitalism,


the mall architecture is still trying to make
it in Eastern Europe. It is not the number,
otherwise quite significant, of these doubleminded programs economic and entertaining
that decides whether they belong to the context or not, but
the architectural approach. If with other programs adjusting to
the specific of the area is a more attainable goal, when we are
talking about these grand retail centres born and bred across
the Ocean, the last 24 years didnt manage to fully align us
with the meaning of Occidental culture. Essentially seen as
small-scale cities, possibly mostly due to their placement in
Americas suburbs, the malls slowly gained, along with their
relocation in the city centre, the character of urban poles,
urban markets. Just that in this respect, the approach and the
timing also dictate different results depending on the area.
In America, especially, these already out-dated centres are
victims to the de-malling techniques, meaning an upgrade
through which an ensemble hosting commercial and
entertainment functions meets new needs, using spatial
reconfiguration and space deconstruction for an increased
connection between the inside and out. This phenomenon can
be understood by the fact that on the other side of the Ocean
there is far from a shortage of malls, on the contrary, there are
plenty, but in great need of a lifting, a regeneration process.
Along these lines appears the concern for sustainability,
since a mall gets built, used, and can also reach its end, if not
treated as a living organism, seen in the same spectrum with
the needs of the society it serves. Otherwise, it becomes a
non-space dedicated to a consumerist and excessive society,
as suggested by the French anthropologist Marc Aug.
This said, in Romania and Eastern Europe, generally, the
mall has a different trajectory. Here, more often than not,
ready-made formulas are imported from geographical areas

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41

n acest context, n Romnia i n zona Europei de Est, n


general, mall-ul are o traiectorie diferit. Aici, n cele mai multe
cazuri, sunt preluate formule de-a gata din arii geografice
mai experimentate cnd vine vorba de acest program mixt
i aplicate n linie standardizat, adaptat n funcie de
constrngerile spaiale sau financiare. Rezultatul este o cutie
simpl, organizat riguros i banal n interior, care nu reuete
s aib efectul scontat asupra utilizatorului. Dac americanul
i face acum cumprturile n mall-uri care arat precum
oraele, romnul i petrece timpul i i face cumprturile
n aceste medii nchise i controlate artificial, care de fapt nu
aduc aceeai bucurie, dar nici acelai profit. Pentru c, mai
ales n cazul acestui program arhitectural, miza esenial este
aceea de a transforma vizitatorul n cumprtor, iar mediul
are un cuvnt greu de spus n acest sens. n final, sintagma
deja clasic form follows function nu mai genereaz de
mult vreme rezultate mulumitoare, dac nu e completat de
ideea, i ea deja intrat n limbajul arhitecilor contemporani,
form follows feelings. O alt provocare const n a menine
viu interesul utilizatorului pe termen lung, n rezervarea
posibilitii de a accepta mutaii, upgrade-uri, att n ceea
ce privete organizarea funcional, ct i design-ul, pentru
c, nu de puine ori, vlva strnit de deschiderea unui mall
nu s-a reflectat apoi n succesul pe termen lung al acestuia.
Odat nelese aceste lucruri, se mai pune i o alt problem.
Am stabilit c mall-ul este un program clar mprumutat, cu
reete de-a gata preluate de la precursorii genului. n acest
context, ntrebarea fireasc ar fi cam de ct inovaie exist
loc n Romnia n ceea ce privete proiectarea unui mall?.
De soluii efectiv noi, cel puin ca schem funcional, nu s-a
prea putut vorbi n ultimii ani. Din fericire, recent se poate
constata o curare a formei i o apropiere tot mai mare de
ceea ce numim user friendly, fapt ce denot o tot mai bun
nelegere a nevoii de a integra aceste centre ct mai firesc n
esutul urban i n stilul de via actual.
n acest sens, la un an de la deschidere, Promenada confirm
n continuare c este rezultatul unei bune practici arhitecturale
i un proiect ndrzne, care sfideaz pe alocuri contextul
banal n care i-a fcut apariia. Theo Stancu i B23T, biroul pe
care l conduce, s-au detaat de abordarea previzibil o cutie
nchis i au propus un volum ndrzne, cu contururi arcuite
i un spaiu public deschis generos. De altfel, neobinuii cu
proiecte de tip mall ce se bucur de un asemenea design
creativ, nainte de inaugurare trectorii presupuneau c la
intersecia dintre Calea Floreasca i strada Barbu Vcrescu

more experienced in this mixed programme and applied as a


standard rule, adjusted after the spatial and financial needs.
The result is a simple box, rigorously and trivially organised
on the interior, one that doesnt have the desired effect on
the end user. If the American is nowadays shopping in citylike malls, the Romanian is shopping and spending his time
in these enclosed and artificially controlled environments,
which are far from bringing the same joy or profit. Since
particularly with this architectural program, the stake is to
turn the visitor into a buyer, the environment has a great
deal of importance in this. Finally, the already classical
expression form follows function has long ceased to
generate satisfying results, if not followed by form follows
feelings, already a common expression in the contemporary
architectural language. Another challenge is to maintain the
interest of the user for the long term, with the possibility of
embracing mutations, upgrades, both in the functional layout
and in design, as, more than once, the buzz aroused by the
opening of a new mall did not reflect its long term success.
Once these things are underway, there is one more question.
We already established that the mall is a definitely borrowed
program, with ready-made recipes taken from the precursors
of the genre. In this context, the natural question is how
much innovation is Romania willing to accept in the design
of a mall? About completely new solutions, at least in the
functional scheme, we havent been able to talk in the last
couple of years. Fortunately, recently we noticed a cleansing
of the form and a greater proximity to what we call user
friendly, which reflects a better understanding of the need
to integrate these centres as naturally as possible in the urban
fabric and the current lifestyle.
In this respect, a year into its opening, Promenada confirms
that it is the result of a good architectural practice and a
daring project, defying here and there the trivial context that
bred it. Theo Stancu and B23T, the studio he leads, moved
away from the predictable approach a closed box and
suggested a daring volume, with curved contours and a
generous open public space. Otherwise, unaccustomed to
malls with such a creative design, before the opening, the
passers-by thought that at the corner of Calea Floreasca
and Barbu Vcrescu Street they were building either an
Olympic pool or an ice rink. And if even before the end of
the construction works it was already making an impression
among users, once opened the project established itself as a
signal and a point of reference among the citys major routes

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42

se construiete fie un bazin olimpic, fie un patinoar. Iar dac,


nainte de finalizarea construciei, crea deja vlv n jurul
utilizatorilor, odat cu inaugurarea, proiectul s-a impus drept
semnal i capt de perspectiv al unor trasee majore din ora
i pol urban de referin alturi de Sky Tower, parte i el din
Floreasca City.
Aparinnd unui ansamblu mai mare, Promenada a fost
conturat n aa fel nct s intre ntr-un dialog armonios cu
turnul de birouri care se profileaz n spate. Rezultatul, un
paralelipiped alb, rotunjit la capete, din care au fost decupate
vitraje nguste, orizontale ce creeaz contrast cu restul
faadei, poate fi definit prin dou cuvinte-cheie: dinamism
i fluiditate. Faadele curate i lise sunt ritmate de linii uor
nclinate, n timp ce un joc geometric generat de elipse de
diferite dimensiuni anim att exteriorul, ct i interiorul,
remarcndu-se drept amprent principal a suprafeelor.
O deosebit grij a fost acordat celor dou accese tratate n
manier asemntoare, care se traduc prin accente verticale
pe fundalul alb, preponderent opac al faadelor. Orientate
ctre cele dou strzi importante care definesc terenul, Calea
Floreasca i Strada Barbu Vcrescu, accesele au fost create
printr-un vitraj de tip spider, fixat pe o structur metalic.
Dac n zona acestor accese legtura vizual cu exteriorul
este mai pregnant, pe restul faadelor exteriorul i interiorul
comunic doar sporadic pe orizontal, pentru a se evita o
intruziune vizual i sonor a agitaiei din strad. Cu toate
acestea, cldirea nu rmne o coaj opac, un mediu complet
artificial, cci respir prin partea superioar. Aici, patru
luminatoare amplasate la nivelul terasei circulabile i altele
cinci, ferite de accesul vizitatorilor, inund controlat fiecare
nivel cu lumina natural, deschiznd, pe alocuri, capacul
cldirii ctre cer.
Terasa circulabil de la ultimul nivel este elementul-surpriz
al proiectului i cel care determin n cea mai mare msur
identitatea unic a cldirii. Avnd o suprafa de 7 000 de
metri ptrai, terasa a fost amenajat n stilul grdinilor
japoneze i zonificat n aa manier nct s bucure toate
categoriile de utilizatori, funcionnd n acelai timp i ca
belvedere ctre mprejurimi. Departe de a fi un loc steril,
spaiul de la nivelul superior este organizat peisager printr-o
serie de arbuti de mici nlimi ce energizeaz o suit de
alei i spaii verzi pe care se poate sta. Zona mai apropiat
de accesul principal a fost lsat liber, oferind posibilitatea
organizrii unei game largi de evenimente, la care poate
participa un numr generos de vizitatori. Ducnd cu gndul la

01_101_Promenada(pagini comune).indd 42

and an urban benchmark along with Sky Tower, also part of


Floreasca City.
Belonging to a greater ensemble, Promenada was designed
to have a harmonious dialogue with the office tower rising
behind. The result, a white parallelepiped, rounded at the
edges, with narrow, horizontal glazed carvings contrasting
strongly with the rest of the facade, can be defined in two
key words: dynamism and fluidity. Slightly inclined lines lend
rhythm to the clean smooth facades, while a geometric game
generated by differently sized ellipses enlivens both the
exterior and the interior, standing out as the main mark of
these surfaces.
A special attention was paid to the two access ways, treated
alike, which translate into vertical accents on the white,
mostly opaque background of the facades. Facing the
two main streets that frame the land, Calea Floreasca and
Barbu Vcrescu, the entrances were created with the use
of a spider glazing fixed on a metallic structure. If around
these areas the visual link to the exterior is stronger, on the
remaining surface the outside and the inside communicate
only sporadically on the horizontal, to avoid the visual
and acoustic intrusion of the street bustle. However, the

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43

pieele urbane, aceast arie prezint i un alt punct de interes,


o fntn artezian, apa fiind un element natural utilizat
creativ i n amenajarea interioar a mall-ului. Cele patru
luminatoare de la nivelul terasei circulabile au o structur
diferit de celelalte, ntruct au fost gndite pentru a
funciona i ca mobilier urban. n completare, un loc de joac
pentru copii aduce un plus de culoare i prospeime.
Scenariile de utilizare a spaiului de pe teras sunt multiple:
iarna permite amenajarea unui patinoar n aer liber i recreeaz totodat atmosfera din zilele de srbtoare, iar n
anotimpul cald aici au loc proiecii de filme, evenimente
culturale i gastronomice i chiar petreceri private. Succesul ei
se datoreaz i mixului de culoare i texturi ce i confer aerul
unei oaze de relaxare ntr-o zon aglomerat a oraului i care
nu se bucur de un numr firesc de spaii verzi. Spre deosebire
de interior, un spaiu mai rece, finisat n diverse griuri, terasa
beneficiaz att de finisaje de sticl i panouri lucioase, ct i
de unele realizate din materiale naturale precum lemnul sau
piatra, care aduc un plus de cldur locului.
Dar chiar dac interioarele nu se definesc prin aceeai
tu cald de culori i texturi precum n cazul terasei,
aici spectacolul vizual este cu adevrat unic. Organizarea
interioar urmrete la nivel structural o reet funcional
simpl, dar de succes, prin faptul c fiecare zon este
gndit n aa fel nct traseele s fie lesne de parcurs. ase
niveluri adpostesc toate spaiile i se organizeaz n jurul
unei zone inelare de circulaie, cu puini stlpi, datorit unei
formule suple de planee post-tensionate. Parcrile, zone
mai puin vizibile, dar de o importan crucial cnd vorbim
de un proiect de asemenea anvergur, sunt amplasate pe
dou niveluri la subsol i permit accesul a 1 300 de maini.

01_101_Promenada(pagini comune).indd 43

building is not a merely opaque shell, a completely artificial


environment, since it breathes through its upper part. Here,
four luminaries placed at the level of the open terrace and
further five, safe from the public paths, bathe in full control
each level with natural light, opening from place to place the
buildings cap towards the sky.
The open terrace at the last floor is the projects surprise
element and the heaviest influencer of the buildings unique
identity. With a surface of 7 000 sqm, the terrace was
designed in the Japanese gardens style and organised so all
categories of users can enjoy it, functioning at the same time
as a pinnacle for the surroundings. Far from being barren,
the space at the upper level is landscaped with small shrubs
that activate a series of alleyways and green spaces for rest.
The area near the main access has been kept free, offering
space for a wide variety of events, with a generous number
of guests. Referencing urban markets, this area presents an
additional point of interest, the fountain, with water a natural
element creatively used in the interior design of the mall.
The four luminaries at the open terrace level are structurally
different from the rest, designed to function as urban
furniture. In addition, a playground for children brings an
extra touch of colour and freshness.
There are multiple scenarios of use for the terrace space:
in winter, it can be used as an outdoor ice rink, recreating
the air of holidays, while in summer it can be used as space
for film screenings, cultural and gastronomic events or even
private parties. Its success is also due to the mix of colours
and texture that transforms it into an oasis in the middle of a
crowded city lacking in many green spaces. Contrary to the
interior, a colder space finished in different shades of grey,
the terrace has both glass finishing and polished surfaces, as
well as natural materials such as wood and stone, which bring
further warmth to the place.
But even though the same warmth in colours and textures
does not define the interiors, here the visual spectacle is truly
unique. The inner organisation structurally follows a simple,
yet successful, functional recipe, by the fact that each area
is designed to make the routes easier to travel. Six levels
host all the necessary spaces and are organised around a
ring-shaped circulation area, with few pillars, due to a light
formula of post-tensioned slabs. The parking lots, areas less
visible but of crucial importance when we are talking about
a project of this scale, are placed on two underground levels
and accommodate 1 300 cars. The vertical link of the interior

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Dezvoltator / Developer
Raiffeisen Evolution Project Development Romania:
director general / managing director Monica Brcuean,
manager de proiect / project manager Alina Pucau,
Cezar Posea
Client
Raiffeisen Evolution Austria:
manager de proiect / project manager Gert Widu
Agent imobiliar / Letting Agents
Krammer&Wagner Project Development: Theresia Wilfinger
Constructor / Construction Manager
Strabag AG : Christoph Schuster
Proiectant general / Project
B23T International Architectural Services: arhiteci / architects
Theo Stancu, Cristian Postolache, Raluca Popescu, Radu
Nicolae, Mihai Fieroiu, Radu Patzelt, Andrei Radu, tefan
Moise ; manager de proiect / project manager Damion Hill;
manager contracte/ contract manager Dana Brind
proiectant Structuri / Structural engineering
Iterum construct
expert de rezisten / structural expert: Iulia Craioveanu
Proiectant instalaii / Mechanical
and Electrical Design
FAS: David Forest
verificator foc / Fire Expert
Control Risk Service: Dnu Mciuca
Expert trafic / Traffic expert
European Transportation Consultancy: John Henley
Urban Trafic SRL: Eugen Ionescu, Ctlin Rceanu
Expert iluminat / lighting expert
Hailight: Andreas Haidegger
Grafic i semnalizare / Environmental
graphics and signage
Plan B: Agnieszka Krawczyk

01_101_Promenada(pagini comune).indd 99

Consultant faad / Facade Consultant


Aluplan: Aram Hazarian
Consultant Peisagistic / Landscape
consultant
Marius Gogo
expert mediu / Environmental expert
AMEC Earth&Environmental: tefania Chiriac
Inginer acustic / Acoustic engineer
Universitatea Tehnic de Construcii Bucureti /
Technical University of Civil Engineering of Bucharest:
Vlad Iordache, Florin Iordache
Ingineria Costurilor / Cost engineer
Ascona SA: Dana Gheorghe
Infrastructur exterioar / Exterior
Infrastructure
Via Project: Silviu Brtean
execuie Instalaii / Mechanical and Electrical
Design and Build
D&T: Mihai Lute

Perioada de Execuie / Building Period


2011-2013
Suprafaa terenului / Site Area
28.803,69 mp
Suprafaa construit / Built Area
120.309,08 mp
Regim de nlime / Number of Storeys
3S+P+2E / 3B +GF+2F
Suprafee cldire / Building Areas
Subsol 3 / Basement 3 22.897,85 mp
Subsol 2 / Basement 2 - 22.897,85 mp
Subsol 1 / Basement 1 22.934,70 mp
Parter / Ground Floor 17.199,58 mp
Etaj 1 / 1st Floor 17.199,58 mp
Etaj 2 / 2nd Floor 11.162.06 mp
+ 6.017,46 mp teras / terrace

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