Supracoperta 11/20/12 2:53 PM Page 1

La fix 4 ani dup` Stuf revenim cu Olane, cel`lalt material de acoperire care marcheaz` iden-

TRADITIONAL HOUSES FROM DOBROGEA

titar zona dobrogean` pe harta cultural` a arhitecturii populare autohtone. Ne folosim, iat`, din
nou, de sonoritatea [i for]a unui cuvnt pentru a marca, nc` din titlul albumului, diferen]a spe- CASE TRADI}IONALE DIN DOBROGEA

CASE TRADI}IONALE DIN DOBROGEA

cific` a arhitecturii populare dobrogene fa]` de celelalte teritorii romne[ti [i nrudirea sa direct`
cu o lume care a f`cut din aceste forme de argil` ars` o podoab` de acoperit cele mai importante
semne ale culturii materiale. Adic`, ntr-un cuvnt, arhitectura. Nu m` pot ab]ine s` spun c` e
vorba de o inven]ie de categoria [i importan]a ro]ii, dovad` fiind faptul c` func]ia [i forma le-au
r`mas nemodificate de mai bine de trei mii de ani, de cnd dateaz` cele mai vechi olane cunos-
cute, g`site n vestigiile arheologice ale civiliza]iilor elenice.

So it is that precisely 4 years after Stuf we return with Pantiles, another cover material that marks the TRADITIONAL HOUSES FROM DOBROGEA
identity of Dobrogea on the cultural map of local folk architecture.Yet again, we make use of the resonance
and force of a word through it and starting with the title of the album, we draw the specific differences
between Dobrogean folk architecture and the vernacular forms of other Romanian territories, as well as its
direct kinship to a world that has turned these burnt clay shapes into a gem to cover the most important
signs of its material culture in a word, its architecture. I also cannot help but mention that pantiles are an
invention every bit as important as the wheel, and as proof of that fact we may state that their function and
form have remained unchanged for over three thousand years, the age of the oldest known pantiles,
discovered in archaeological vestiges of Hellenic civilizations.

igloopatrimoniu
70 lei igloopatrimoniu
 Proiect editorial finan]at de
Administra]ia Fondului Cultural Na]ional

Descrierea CIP a Bibliotecii Na]ionale a Romniei

Olane: Case tradi]ionale din Dobrogea - Olane: Traditional houses from Dobrogea
ed. coord. pref.: Bruno Andre[oiu; texte: Augustin Ioan, Andrei {erbescu,
Stelu]a Pru, Paul Drogeanu; trad.: Smaranda Nicolau, Andrea Nastac;
foto.: Bruno Andre[oiu, {erban Bonciocat; grafica: C`t`lin Artenie.
Bucure[ti: Igloo, 2012
Bibliogr.
ISBN 978-606-8026-21-3

I. Andre[oiu, Bruno (coord. ; pref. ; foto.)

II. Ioan, Augustin (text.)
III. {erbescu, Andrei (text.)
IV. Pru, Stelu]a (text.)
V. Drogeanu, Paul (text.)
VI. Nicolau, Smaranda (trad.)
VII. Nastac, Andrea (trad.)
VIII. Artenie, C`t`lin (graf.)

728(498.8)

Toate drepturile sunt rezervate. Ele sunt protejate de legile n vigoare privitoare la dreptul de autor.
Orice reproducere total` sau n detaliu, prin orice fel de mijloace de copiere sau transmisie, este
interzis` f`r` acordul editurii Igloo Media.
All rights reserved. No part of this publication may be reproduced, stored in retrieval system, or
transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or
otherwise, without written permission of Igloo Media.

Bucure[ti, igloomedia, 2012

CASE TRADI}IONALE DIN DOBROGEA

TRADITIONAL HOUSES FROM DOBROGEA

igloopatrimoniu
SUMAR /CONTENTS
PREFA}~ / FOREWORD
PLEDOARIE PENTRU OLANE 6
A PLEA FOR PANTILES

{ARMUL INCONSECVEN}EI TRADI}IEI 10

THE CHARMING INCONSISTENCY OF TRADITION

DOBROGEA SPA}IU AL LOCUIRII

INTERETNICE {I AL MULTICULTURALIT~}II 15
DOBROGEA SPACE OF INTERETHNIC
DWELLING AND MULTICULTURALITY

COLINA DOBROGEAN~ 20
THE DOBROGEAN HILLOCK

DOROBAN}U, JUDE}UL TULCEA

(O MICROMONOGRAFIE LIRIC~) 24
DOROBAN}U,TULCEA COUNTY
(A LYRICAL MICRO-MONOGRAPH)

M~N~STIREA DERVENT 30
CANLIA 34
CARV~N 40
GORUNI 44
NEGURENI 46
ION CORVIN 50
ADAMCLISI 58
BREBENI 64
ABRUD 68
FLORIILE 72
RASOVA 74
COCHIRLENI 78
C~SCIOARELE 80
CHIRNOGENI 86
OLTENI 90
COTU V~II 96
INDEPENDEN}A 97
FNTNA MARE 98
B~R~GANU 102
OVIDIU 106
SEIMENII MICI 108
SILI{TEA 110
DUN~REA 112
TOPALU 114
GHIND~RE{TI 118
PANTELIMON 122
RUNCU 126
TICHILE{TI 129
VULTURU 130
DULGHERU 132
SARAIU 134
GRLICIU 136

BEIDAUD 140
CEAMURLIA DE JOS 142
CEAMURLIA DE SUS 148
CAUGAGIA 150
CAMENA 158
VISTERNA 162
SLAVA RUS~ 164
SLAVA CHERCHEZ~ 165
NICOLAE B~LCESCU 166
IZVOARELE 170
NALBANT 188
VALEA NUCARILOR 190
PLOPUL 192
CERNA 194
OSTROV 195

BIBLIOGRAFIE / BIBLYOGRAPHY 198

 OLANE. CASE TRADI}IONALE DIN DOBROGEA
Pledoarie pentru Olane
Constatnd c` igloopatrimoniu dezvolt` tendin]a inte-
rioar` de a se organiza n sub-colec]ii, nu putem dect s`
o salut`m (un plus de ordine cred c` e oricnd bine-
venit, mai ales n lumea n care tr`im noi) [i s` o
urm`m. Astfel, albumul pe care l prefa]ez acum nu este
o apari]ie singular`, ci parte a unui demers care a
nceput n partea de nord-est a Dobrogei cu o cartare
(artistic`) a arhitecturii tradi]ionale din Delta Dun`rii.
Cei mai n vrst` [i cu mintea limpede [i amintesc f`r`
ndoial` de Stuf. Case tradi]ionale din Delta Dun`rii,
albumul care a inaugurat n 2008 sub-colec]ia dedicat`
arhitecturilor vernaculare (tradi]ionale, populare) din
Romnia. Mai mult dect att, se pare c` interesul nos-
tru pentru arhitectura popular` pe cale de dispari]ie a
reu[it totodat` s` stabileasc` [i un anumit tip de abordare
una care privilegiaz` pitorescul [i farmecul [i le prefer`
analizei seci, de laborator [i astfel s` trezeasc` [i alte
con[tiin]e dispuse s` investigheze vernacularul
romnesc.
Pe noi, se pare c` timpul nu ne-a vindecat de pasiunea
pentru semnele construite ale locuitorilor celui mai
b`trn [i n acela[i timp mai recent teritoriu al patriei,
apendicele sud-estic dintre Dun`re [i mare, cunoscut de
toat` lumea bun` drept Dobrogea. A[a c` la fix 4 ani
dup` Stuf revenim cu Olane, cel`lalt material de
acoperire care marcheaz` identitar zona dobrogean` pe
harta cultural` a arhitecturii populare autohtone. Ne
folosim, iat`, din nou, de sonoritatea [i for]a unui cuvnt
pentru a marca, nc` din titlul albumului, diferen]a spe-
cific` a arhitecturii populare dobrogene fa]` de celelalte
teritorii romne[ti [i nrudirea sa direct` cu o lume care
a f`cut din aceste forme de argil` ars` o podoab` de
acoperit cele mai importante semne ale culturii materi-
ale. Adic`, ntr-un cuvnt, arhitectura. {i nu vorbim
numai de Balcanii iubi]i [i detesta]i n egal` m`sur`, ci
de tot bazinul M`rii Negre, al M`rii Mediterane [i al
teritoriilor care au fost colonizate plecnd de-aici.
Apropo de colonii, nu pot s` nu fac aici o mic` paran-
tez`, vorbind de olanele braziliene, ce acopereau un mic
boutique hotel pierdut n imensitatea acelei ]`ri [i care
aveau particularitatea c` p`reau foarte diferite unele de
altele. ntrebnd proprietarii despre motivul evidentei
deosebiri, am aflat c` respectivele olane, recuperate de la
diverse construc]ii vechi, fuseser`, n zona respectiv`,
fabricate de femei, care le modelau pe propriile coapse.
Din p`cate, la noi n ]ar` nu am g`sit nicio astfel de
poveste [i m` tem c` micile jum`t`]i de tub sunt rezul-
tatul unui proces mult mai prozaic, de turnare n
matri]e, uscare [i coacere obi[nuite. Ceea ce nu le face
mai pu]in pitore[ti [i cu totul adecvate peisajului dobro-
6 PREFA}~
A Plea for Pantiles
As it would seem that the iglooheritage series is developing an
organic tendency to organize itself in subdivisions (an extra bit
of order is always welcome in the world we live in nowadays),
all we can do is salute this trend and follow wherever it may
lead. So it is that the album I am now foreword-ing is not a
singular occurrence, but rather part of an endeavour that began
in the north-eastern part of Dobrogea with an (artistic) mapping
of the traditional architecture of the Danube Delta. The older
and wiser among us will undoubtedly recall Stuf. Traditional
Houses from the Danube Delta, the album that in 2008 inau-
gurated the sub-collection dedicated to vernacular (traditional,
folk) architectures in Romania. Moreover, it would seem that our
interest in the endangered species that is folk architecture has
managed to put forward a particular kind of approach, one that
favours all things charming and picturesque over a dreary lab-
type analysis, one that seeks to awaken other consciousnesses
likewise willing to investigate the Romanian vernacular.
In our case, it seems time has not managed to cure us of our
passion for the built traces of the inhabitants of the oldest, and
at the same time, most recent territory in our country, the
south-eastern appendix between the Danube and the sea
known to everyone who counts as Dobrogea. So it is that pre-
cisely 4 years after Stuf we return with Pantiles, another cover
material that marks the identity of Dobrogea on the cultural
map of local folk architecture. Yet again, we make use of the
resonance and force of a word through it and starting with
the title of the album, we draw the specific differences between
Dobrogean folk architecture and the vernacular forms of other
Romanian territories, as well as its direct kinship to a world
that has turned these burnt clay shapes into a gem to cover the
most important signs of its material culture in a word, its
architecture. And we are not only speaking of the equally
loathed and beloved people of the Balkans, but of the entire
Black Sea basin, of the Mediterranean Sea and all of the terri-
tories that were colonized starting from here. And since we've
arrived at colonies, though I digress, I simply have to mention
the Brasilian pantiles that used to cover a small boutique hotel
lost in the immensity of that country, whose peculiarity lay in
the fact that each tile was completely different from the others.
After asking the owners about the reasons behind such obvious
differences, we found that those pantiles, all recovered from var-
ious older buildings in the area, had been handcrafted by
women who would mould them after their own thighs. Sadly,
no such story turned up in our country, and I fear our little
half-tubes are the result of a far more prosaic process of pouring
clay into matrixes to dry and cook. Which doesn't make them
any less picturesque or adequate to the Dobrogean landscape,
 OLANE. TRADITIONAL HOUSES FROM DOBROGEA
gean, singurul din Romnia care a [tiut s` cultive aceast`
mo[tenire definitorie [i reprezentativ` a civiliza]iei medi-
teraneene. Nu m` pot ab]ine s` spun c` e vorba de o
inven]ie de categoria [i importan]a ro]ii, dovad` fiind
faptul c` func]ia [i forma le-au r`mas nemodificate de
mai bine de trei mii de ani, de cnd dateaz` cele mai
vechi olane cunoscute, g`site n vestigiile arheologice ale
civiliza]iilor elenice (asta n bazinul mediteraneean, c` n
China).
Din nefericire, ca s` spunem totu[i lucrurilor pe nume,
cultura olanelor este [i ea pe cale de dispari]ie n ]ara
noastr`, campioan` la a-[i anihila trecutul. Spre deose-
bire de alte culturi care [tiu s`-[i recunoasc` valorile
patrimoniale [i s` le protejeze, noi p`rem lansa]i ntr-o
curs` contra cronometru pentru a le distruge.
Arhitectura popular`, fiind oricum cea mai fragil`, mai
pu]in versatil` [i mai lipsit` de glorie, pare a fi victima
predilect`, iar olanele acoperirii sale dobrogene nu fac
excep]ie. Prin urmare, albumul acesta se vrea nu numai
o modalitate de salvare, prin imagini, a ceea ce a mai
r`mas n picioare din arhitectura tradi]ional` dobro-
gean`, ci [i nc` un semnal pentru drama pe care arhi-
tectura tradi]ional` n general o tr`ie[te n prezent.
Eu continui s` cred ([i s` sper) c` ceea ce tr`im ast`zi,
inclusiv sau mai ales n materie de raportare la arhitec-
tura tradi]ional`, este doar un nefericit hiatus, o ruptur`
n curgerea fireasc` a timpului. }ine de specificul nostru
(n principal de ntrzierea fa]` de fluxurile culturale ale
lumii contemporane) [i felul n care ne raport`m n
prezent la arhitectura tradi]ional`. Dup` p`rerea mea, nu
am reu[it nc` s` metaboliz`m corect impactul moder-
nit`]ii [i s` n]elegem nevoia nuan]`rii elanurilor distruc-
tive ale proiectelor revolu]ionare ncifrate n acesta.
Satele romne[ti tr`iesc ast`zi (de dou`zeci de ani), din
nou, sub semnul unei violen]e revolu]ionare care m`tur`
totul n calea ei. Totul trebuie rescris, ars [i ref`cut din
temelii, nimic din ceea ce era nu mai e bun, s`n`tos,
viabil. ntre proiectul ceau[ist de anihilare a satului prin
nlocuirea sa cu tabere de munc` n agricultur`, n care
]`ranii erau caza]i la bloc, [i transformarea actual` a
aceluia[i teritoriu, diferen]ele sunt mai mici dect s-ar
p`rea. Desigur, ast`zi lipse[te coeren]a aberant` [i
malign` a ideologiei, dar rela]ia locuirii cu teritoriul, tre-
cutul [i particularit`]ile culturale se modific` la fel de
grav [i definitiv. n loc de cartiere de mici blocuri
insalubre, satul de azi [i de mine va expune o imagine
n care se vor nghesui vile fistichii [i ciudate, ntr-o
deplin` debandad` de stiluri, forme [i culori. {i, ca n
attea alte domenii na]ionale, nu exist` preocupare
serioas`, cercetare aplicat` [i dezbatere n leg`tur` cu
viitorul unui teritoriu n care locuie[te nc` jum`tate din
popula]ia ]`rii, satul. Care sat, este evident pentru
oricine [i bate pu]in capul, nu mai este ast`zi capabil
s`-[i secrete o formul` proprie de existen]` coerent` [i
7 PREFA}~
the only landscape in Romania that knew how to cultivate this
defining and representative legacy of Mediterranean civilisation.
I also cannot help but mention that pantiles are an invention
every bit as important as the wheel, and as proof of that fact
we may state that their function and form have remained
unchanged for over three thousand years, the age of the oldest
known pantiles, discovered in archaeological vestiges of Hellenic
civilizations (in the region of the Mediterranean, to say nothing
of China...).
Sadly, to call things what they are, the culture of pantiles is
yet another endangered species inhabiting the national land-
scape of a country that is champion at annihilating its own
past. Unlike other cultures who know how to acknowledge and
protect their heritage values, we Romanians seem to be racing
against the clock to destroy ours. Folk architecture, at any rate
the most fragile of architectures, less versatile and less glorious
perhaps, seems to be the favourite victim, and the pantiles that
cover most of Dobrogea are no exception to this trend. It fol-
lows then, that this album wishes to be not only a means for
salvaging, in images, what is still standing of traditional
Dobrogean architecture, but that it also sets out to raise an
alarm signal and throw light on the tragedy that traditional
architecture is suffering at the moment.
I continue to believe (and to hope) that what we are living
through today also (or especially) in terms of traditional archi-
tecture is nothing more than an unfortunate hiatus, a tear in
the natural flow of time. It has something to do with our char-
acter (mainly with the constant lag that seems to exist between
us and the cultural flow of the contemporary world) and with
the manner in which we presently approach traditional architec-
ture. In my opinion, we have not yet managed to correctly
metabolize the impact of modernity and understand the need to
distinguish and to moderate the destructive impulses hidden
within any revolutionary project. Romanian villages nowadays
(and for the past 20 years) are plagued by a revolutionary vio-
lence that sweeps away everything in its path. Everything has
to be rewritten, burnt down and built up again from scratch, no
thing of the past can still be considered good, healthy or viable.
Between Ceau[escu's agenda to annihilate the village altogether
and replace it with agricultural work camps where peasants
would lodge in apartment buildings, and the present transfor-
mations of that same environment, the past and the cultural
peculiarities of the village are being severely and irreparably
altered. Instead of the communist vision of entire blocks of tiny,
unsanitary flats, the village of today and tomorrow advertises
an agglomeration of wacky, weird 'villas' in an absolute confu-
sion of styles, shapes and colours. And, as with so many other
national domains, there is a lack of serious preoccupation,
applied research and debates concerning the future of an envi-
 OLANE. CASE TRADI}IONALE DIN DOBROGEA
valoroas`. El doar distruge furibund [i recl`de[te mime-
tic, copiind prost modele inadecvate, acceptnd n
carnea sa orice gref`, orict de nepotrivit`.
De aceea urmele arhitecturii tradi]ionale sunt de g`sit
numai n zonele cele mai s`race [i mai izolate, casele
vechi subzist` (aproape) numai n gospod`riile b`trne[ti,
n care lipse[te vigoarea pe care violen]a schimb`rii o
reclam`. Orict de aberant ar suna pentru o minte
normal`, ast`zi, n Romnia, arhitectura popular` este
conservat` doar de b`trne]e [i de lene.
Spre deosebire de Stuf, care propunea o structur` edi-
torial` n patru capitole bazat` pe focusul progresiv,
peisaj cas` gospod`rie detalii, Olane este struc- them. As strange as it may sound to a normal mind, today, in
turat diferit.
Teritoriul mult mai vast [i mai ales incredibila diversitate
tipologic` a obiectivelor fotografiate ne-a condus c`tre o
punere n pagin` care s` marcheze n primul rnd
provenien]a fotografiei, respectiv satul n care se g`se[te
fiecare cas`. Apoi, din motive de natur` strict editorial`,
am ales s` mp`r]im teritoriul dobrogean n trei felii ori-
zontale, de sud, centru [i nord, inegale ca suprafa]` sau
densitate de case fotografiate, utile numai n logica de a
face cartea mai u[or de urm`rit. Prin urmare, cine va
c`uta altfel de ra]iuni (istorice, geografice, culturale etc.)
nu cred s` aib` vreun rezultat.
Pentru textele care nso]esc imaginile, de ast` dat` gru-
pate ntr-un capitol de sine st`t`tor, am optat pentru
oameni [i perspective fundamental diferite: de la diversi-
tatea etnic` ce a f`cut posibil` diversitatea arhitectural` a
zonei, la o analiz` a disolu]iei arhitecturii vernaculare a[a
cum o tr`im ast`zi, [i de la survolul cultural al colinelor
ntre care se ascund satele pn` la memorii personale
legate de satul dobrogean.
Scopul nostru, n mod cert, nu a fost acela de a construi
o pozi]ie ferm` [i un punct de vedere clar sau militant,
ci mai degrab` de a marca un moment dificil, pe care,
dac` nu vom [ti s`-l gestion`m cum se cuvine, peste nu
foarte mul]i ani tot ceea ce va fi r`mas din arhitectura
popular` dobrogean` va fi numai albumul acesta. E un
fapt c` arhitectura popular`, odat` cu modelul de soci-
etate care a produs-o, e pe cale de dispari]ie peste tot n
lume. Ne putem mp`ca, la ad`postul unor argumente
intelectuale sau al nesim]irii pure, cu acest lucru sau
putem face un efort s` n]elegem dac` semnele constru-
ite ale bunicilor de la ]ar` mai pot furniza modele, inspi-
ra]ie sau valori utilizabile ast`zi. Eu, unul, cred c` da [i
sper c` albumul acesta s` mai conving` [i pe al]ii.
BRUNO ANDRE{OIU
8 PREFA}~
ronment that is still home to half the population of the country
the village. And the village, as anyone with the slightest
interest in the matter can plainly see, is no longer capable of
secreting its own formula for a coherent and valuable existence.
It is so caught up in an endless cycle of destructive rages and
mimetic rebuilding based on cheap copies of inadequate models,
that its flesh now tolerates any graft whatsoever, no matter how
ill a match it may be.
This is the reason why traces of traditional architecture can now
only be found in the poorest and most isolated of areas, where
old houses (barely) subsist in the households of the elderly, who
lack the vigour that this violent wave of change demands of
Romania, folk architecture is only preserved thanks to old age
and sloth.
The editorial structure of Pantiles is very different from the
four-chapter division based on progressive focus proposed in
Stuf: landscape house household details. The much
vaster territory and, more to the point, the remarkable typologi-
cal diversity of the objectives photographed in this album led us
to a set-up that primarily marks the origin of the photograph,
respectively the village where the house can be found. Then, for
strictly editorial concerns, we chose to divide the Dobrogean ter-
ritory into three horizontal stripes, southern, central and north-
ern, unequal in surface and the density of photographed houses,
only useful in making the book easier to go through. Whoever
should wish to seek out other reasons for this division (historic,
geographic or cultural) is unlikely to find any.
For the texts that accompany the images, this time grouped into
an independent chapter, we opted for fundamentally different
people and perspectives: from the ethnic diversity that made pos-
sible the architectural diversity of the region, to an analysis of
the dissolution of vernacular architecture as experienced by us
today, to a cultural survey of villages hidden in the hills and all
the way to personal memoirs relating to the Dobrogean village.
Our goal was certainly not to establish a firm position or con-
vey some clear or militant point of view, but rather to mark a
difficult moment in time should we prove unable to manage
this moment in an appropriate manner, it is possible that not
so many years from now, all that will be left of Dobrogean
architecture may very well be this album. It is fact that folk
architecture and the societal model it puts forth are about to dis-
appear all over the world. Sheltered by intellectual argumenta-
tion or sheer ignorance, we may reconcile ourselves
to this fact, or we may make an effort to
understand whether or not the built traces of
our rural grandparents might still provide mod-
els, inspiration or values that are useful and
usable today. I for one believe this to be true and I
hope this album will be instrumental in convincing others
of the same.
OLANE. CASE TRADI}IONALE DIN DOBROGEA

30 M~N~STIREA DERVENT
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

31 M~N~STIREA DERVENT
OLANE. CASE TRADI}IONALE DIN DOBROGEA

32 M~N~STIREA DERVENT
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

33 M~N~STIREA DERVENT
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

35 CANLIA
OLANE. CASE TRADI}IONALE DIN DOBROGEA

52 ION CORVIN
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

53 ION CORVIN
OLANE. CASE TRADI}IONALE DIN DOBROGEA

68 ABRUD
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

69 ABRUD
OLANE. CASE TRADI}IONALE DIN DOBROGEA

74 RASOVA
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

75 RASOVA
OLANE. CASE TRADI}IONALE DIN DOBROGEA

90 OLTENI
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

91 OLTENI
OLANE. CASE TRADI}IONALE DIN DOBROGEA

100 FNTNA MARE

OLANE. TRADITIONAL HOUSES FROM DOBROGEA

101 FNTNA MARE

OLANE. CASE TRADI}IONALE DIN DOBROGEA

114 TOPALU
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

115 TOPALU
OLANE. CASE TRADI}IONALE DIN DOBROGEA

120 GHIND~RE{TI
OLANE. CASE TRADI}IONALE DIN DOBROGEA

126 RUNCU
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

127 RUNCU
OLANE. CASE TRADI}IONALE DIN DOBROGEA

142 CEAMURLIA DE JOS

OLANE. TRADITIONAL HOUSES FROM DOBROGEA

143 CEAMURLIA DE JOS

OLANE. CASE TRADI}IONALE DIN DOBROGEA

146 CEAMURLIA DE JOS

OLANE. TRADITIONAL HOUSES FROM DOBROGEA

147 CEAMURLIA DE JOS

OLANE. CASE TRADI}IONALE DIN DOBROGEA

150 CAUGAGIA
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

151 CAUGAGIA
OLANE. CASE TRADI}IONALE DIN DOBROGEA

152 CAUGAGIA
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

153 CAUGAGIA
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154 CAUGAGIA
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160 CAMENA
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161 CAMENA
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172 IZVOARELE
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178 IZVOARELE
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179 IZVOARELE
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186 IZVOARELE
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187 IZVOARELE
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Bibliografie /Bibliography
Ionescu M.D., Dobrogea n pragul veacului al XX-lea, Bucure[ti, 1904.

Khosla, Romi, 2002, Inventing Future Prosperity: A Case in the Buddhist Himalayan
Region of Ladakh, n Turgut, Hlya [i Kellett, Peter (ed.), Traditional
Environments in a New Millenium: Defining Principles and Professional Practice,
Istanbul: Nokta Ofset, pp. 86-89

Mateescu Tudor, Permanen]a [i continuitatea romnilor n Dobrogea,

Direc]ia General` a Arhivelor, 1970.

Pru Stelu]a, Multiculturalitatea n Dobrogea, Editura Ex-Ponto, Constan]a, 2007.

Popoiu Paula, Antropologia Dobrogei, Craiova, Editura Universitaria, 2010.

Popoiu Paula, Antropologia habitatului n Dobrogea Om natur` cultur`,

Editura Oscar Print, Bucure[ti, 2001.

R`dulescu Adrian, Bitoleanu Ion, Istoria romnilor dintre Dun`re [i Mare,

Dobrogea, Editura {tiin]ific` [i Enciclopedic`, Bucure[ti, 1979.

Tuan, Yi-Fu, 1989, Traditional: What does it mean?, n Jean-Paul Bourdier [i Nezar
AlSayyad (eds.), Dwellings, Settlements and Tradition: Cross-Cultural Perspectives,
Lanham: University Press of America, pp. 27-35

Upton, Dell, 2001, Authentic Anxieties, n N. AlSayyad (ed.), Consuming Tradition,

Manufacturing Heritage. Global Norms and Urban Forms in the Age
of Tourism, London: Routledge, pp. 298-307

198 BIBLIOGRAFIE
 OLANE. TRADITIONAL HOUSES FROM DOBROGEA

Colofon /Colophon
Olane. Case tradi]ionale din Dobrogea
Olane. Traditional houses from Dobrogea
este al nou`lea album din colec]ia igloopatrimoniu.
is the ninth album in the iglooheritage series.

board editorial / editorial board Bruno Andre[oiu, Adrian Cioc`zanu

coordonator proiect / project coordinator Bruno Andre[oiu
foto / photo {erban Bonciocat, Bruno Andre[oiu
texte / texts Andrei {erbescu, Stelu]a Pru, Paul Drogeanu, Augustin Ioan
grafic` / graphic design C`t`lin Artenie
prelucrare foto / image editing Cristian David, Robert Dumitru, {erban
Bonciocat
editare text / text editing Andreea Amzoiu
traducere / translation Smaranda Nicolau, Andrea Nastac
tiraj / copies 2000, hrtie / paper 150 g/mp
tip`rit la / printed by Masterprint
editura / edited by igloomedia, noiembrie 2012

199 COLOFON
Supracoperta 11/20/12 2:53 PM Page 1

La fix 4 ani dup` Stuf revenim cu Olane, cel`lalt material de acoperire care marcheaz` iden-

TRADITIONAL HOUSES FROM DOBROGEA

titar zona dobrogean` pe harta cultural` a arhitecturii populare autohtone. Ne folosim, iat`, din
nou, de sonoritatea [i for]a unui cuvnt pentru a marca, nc` din titlul albumului, diferen]a spe- CASE TRADI}IONALE DIN DOBROGEA

CASE TRADI}IONALE DIN DOBROGEA

cific` a arhitecturii populare dobrogene fa]` de celelalte teritorii romne[ti [i nrudirea sa direct`
cu o lume care a f`cut din aceste forme de argil` ars` o podoab` de acoperit cele mai importante
semne ale culturii materiale. Adic`, ntr-un cuvnt, arhitectura. Nu m` pot ab]ine s` spun c` e
vorba de o inven]ie de categoria [i importan]a ro]ii, dovad` fiind faptul c` func]ia [i forma le-au
r`mas nemodificate de mai bine de trei mii de ani, de cnd dateaz` cele mai vechi olane cunos-
cute, g`site n vestigiile arheologice ale civiliza]iilor elenice.

So it is that precisely 4 years after Stuf we return with Pantiles, another cover material that marks the TRADITIONAL HOUSES FROM DOBROGEA
identity of Dobrogea on the cultural map of local folk architecture.Yet again, we make use of the resonance
and force of a word through it and starting with the title of the album, we draw the specific differences
between Dobrogean folk architecture and the vernacular forms of other Romanian territories, as well as its
direct kinship to a world that has turned these burnt clay shapes into a gem to cover the most important
signs of its material culture in a word, its architecture. I also cannot help but mention that pantiles are an
invention every bit as important as the wheel, and as proof of that fact we may state that their function and
form have remained unchanged for over three thousand years, the age of the oldest known pantiles,
discovered in archaeological vestiges of Hellenic civilizations.

igloopatrimoniu
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