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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` A Plea for Pantiles
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 As it would seem that the iglooheritage series is developing an
o apari]ie singular`, ci parte a unui demers care a organic tendency to organize itself in subdivisions (an extra bit
nceput n partea de nord-est a Dobrogei cu o cartare of order is always welcome in the world we live in nowadays),
(artistic`) a arhitecturii tradi]ionale din Delta Dun`rii. all we can do is salute this trend and follow wherever it may
Cei mai n vrst` [i cu mintea limpede [i amintesc f`r` lead. So it is that the album I am now foreword-ing is not a
ndoial` de Stuf. Case tradi]ionale din Delta Dun`rii, singular occurrence, but rather part of an endeavour that began
albumul care a inaugurat n 2008 sub-colec]ia dedicat` in the north-eastern part of Dobrogea with an (artistic) mapping
of the traditional architecture of the Danube Delta. The older
arhitecturilor vernaculare (tradi]ionale, populare) din
and wiser among us will undoubtedly recall Stuf. Traditional
Romnia. Mai mult dect att, se pare c` interesul nos-
Houses from the Danube Delta, the album that in 2008 inau-
tru pentru arhitectura popular` pe cale de dispari]ie a
gurated the sub-collection dedicated to vernacular (traditional,
reu[it totodat` s` stabileasc` [i un anumit tip de abordare
folk) architectures in Romania. Moreover, it would seem that our
una care privilegiaz` pitorescul [i farmecul [i le prefer`
interest in the endangered species that is folk architecture has
analizei seci, de laborator [i astfel s` trezeasc` [i alte
managed to put forward a particular kind of approach, one that
con[tiin]e dispuse s` investigheze vernacularul
favours all things charming and picturesque over a dreary lab-
romnesc.
type analysis, one that seeks to awaken other consciousnesses
Pe noi, se pare c` timpul nu ne-a vindecat de pasiunea
likewise willing to investigate the Romanian vernacular.
pentru semnele construite ale locuitorilor celui mai In our case, it seems time has not managed to cure us of our
b`trn [i n acela[i timp mai recent teritoriu al patriei, passion for the built traces of the inhabitants of the oldest, and
apendicele sud-estic dintre Dun`re [i mare, cunoscut de at the same time, most recent territory in our country, the
toat` lumea bun` drept Dobrogea. A[a c` la fix 4 ani south-eastern appendix between the Danube and the sea
dup` Stuf revenim cu Olane, cel`lalt material de known to everyone who counts as Dobrogea. So it is that pre-
acoperire care marcheaz` identitar zona dobrogean` pe cisely 4 years after Stuf we return with Pantiles, another cover
harta cultural` a arhitecturii populare autohtone. Ne material that marks the identity of Dobrogea on the cultural
folosim, iat`, din nou, de sonoritatea [i for]a unui cuvnt map of local folk architecture. Yet again, we make use of the
pentru a marca, nc` din titlul albumului, diferen]a spe- resonance and force of a word through it and starting with
cific` a arhitecturii populare dobrogene fa]` de celelalte the title of the album, we draw the specific differences between
teritorii romne[ti [i nrudirea sa direct` cu o lume care Dobrogean folk architecture and the vernacular forms of other
a f`cut din aceste forme de argil` ars` o podoab` de Romanian territories, as well as its direct kinship to a world
acoperit cele mai importante semne ale culturii materi- that has turned these burnt clay shapes into a gem to cover the
ale. Adic`, ntr-un cuvnt, arhitectura. {i nu vorbim most important signs of its material culture in a word, its
numai de Balcanii iubi]i [i detesta]i n egal` m`sur`, ci architecture. And we are not only speaking of the equally
de tot bazinul M`rii Negre, al M`rii Mediterane [i al loathed and beloved people of the Balkans, but of the entire
teritoriilor care au fost colonizate plecnd de-aici. Black Sea basin, of the Mediterranean Sea and all of the terri-
Apropo de colonii, nu pot s` nu fac aici o mic` paran- tories that were colonized starting from here. And since we've
tez`, vorbind de olanele braziliene, ce acopereau un mic arrived at colonies, though I digress, I simply have to mention
boutique hotel pierdut n imensitatea acelei ]`ri [i care the Brasilian pantiles that used to cover a small boutique hotel
aveau particularitatea c` p`reau foarte diferite unele de lost in the immensity of that country, whose peculiarity lay in
altele. ntrebnd proprietarii despre motivul evidentei the fact that each tile was completely different from the others.
deosebiri, am aflat c` respectivele olane, recuperate de la After asking the owners about the reasons behind such obvious
diverse construc]ii vechi, fuseser`, n zona respectiv`, differences, we found that those pantiles, all recovered from var-
fabricate de femei, care le modelau pe propriile coapse. ious older buildings in the area, had been handcrafted by
Din p`cate, la noi n ]ar` nu am g`sit nicio astfel de women who would mould them after their own thighs. Sadly,
poveste [i m` tem c` micile jum`t`]i de tub sunt rezul- no such story turned up in our country, and I fear our little
tatul unui proces mult mai prozaic, de turnare n half-tubes are the result of a far more prosaic process of pouring
matri]e, uscare [i coacere obi[nuite. Ceea ce nu le face clay into matrixes to dry and cook. Which doesn't make them
mai pu]in pitore[ti [i cu totul adecvate peisajului dobro- any less picturesque or adequate to the Dobrogean landscape,

6 PREFA}~
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

gean, singurul din Romnia care a [tiut s` cultive aceast` the only landscape in Romania that knew how to cultivate this
mo[tenire definitorie [i reprezentativ` a civiliza]iei medi- defining and representative legacy of Mediterranean civilisation.
teraneene. Nu m` pot ab]ine s` spun c` e vorba de o I also cannot help but mention that pantiles are an invention
inven]ie de categoria [i importan]a ro]ii, dovad` fiind every bit as important as the wheel, and as proof of that fact
faptul c` func]ia [i forma le-au r`mas nemodificate de we may state that their function and form have remained
mai bine de trei mii de ani, de cnd dateaz` cele mai unchanged for over three thousand years, the age of the oldest
vechi olane cunoscute, g`site n vestigiile arheologice ale known pantiles, discovered in archaeological vestiges of Hellenic
civiliza]iilor elenice (asta n bazinul mediteraneean, c` n civilizations (in the region of the Mediterranean, to say nothing
China). of China...).
Din nefericire, ca s` spunem totu[i lucrurilor pe nume, Sadly, to call things what they are, the culture of pantiles is
cultura olanelor este [i ea pe cale de dispari]ie n ]ara yet another endangered species inhabiting the national land-
noastr`, campioan` la a-[i anihila trecutul. Spre deose- scape of a country that is champion at annihilating its own
bire de alte culturi care [tiu s`-[i recunoasc` valorile past. Unlike other cultures who know how to acknowledge and
patrimoniale [i s` le protejeze, noi p`rem lansa]i ntr-o protect their heritage values, we Romanians seem to be racing
curs` contra cronometru pentru a le distruge. against the clock to destroy ours. Folk architecture, at any rate
Arhitectura popular`, fiind oricum cea mai fragil`, mai the most fragile of architectures, less versatile and less glorious
pu]in versatil` [i mai lipsit` de glorie, pare a fi victima perhaps, seems to be the favourite victim, and the pantiles that
predilect`, iar olanele acoperirii sale dobrogene nu fac cover most of Dobrogea are no exception to this trend. It fol-
excep]ie. Prin urmare, albumul acesta se vrea nu numai lows then, that this album wishes to be not only a means for
o modalitate de salvare, prin imagini, a ceea ce a mai salvaging, in images, what is still standing of traditional
r`mas n picioare din arhitectura tradi]ional` dobro- Dobrogean architecture, but that it also sets out to raise an
gean`, ci [i nc` un semnal pentru drama pe care arhi- alarm signal and throw light on the tragedy that traditional
tectura tradi]ional` n general o tr`ie[te n prezent. architecture is suffering at the moment.
Eu continui s` cred ([i s` sper) c` ceea ce tr`im ast`zi, I continue to believe (and to hope) that what we are living
inclusiv sau mai ales n materie de raportare la arhitec- through today also (or especially) in terms of traditional archi-
tura tradi]ional`, este doar un nefericit hiatus, o ruptur` tecture is nothing more than an unfortunate hiatus, a tear in
n curgerea fireasc` a timpului. }ine de specificul nostru the natural flow of time. It has something to do with our char-
(n principal de ntrzierea fa]` de fluxurile culturale ale acter (mainly with the constant lag that seems to exist between
lumii contemporane) [i felul n care ne raport`m n us and the cultural flow of the contemporary world) and with
prezent la arhitectura tradi]ional`. Dup` p`rerea mea, nu the manner in which we presently approach traditional architec-
am reu[it nc` s` metaboliz`m corect impactul moder- ture. In my opinion, we have not yet managed to correctly
nit`]ii [i s` n]elegem nevoia nuan]`rii elanurilor distruc- metabolize the impact of modernity and understand the need to
tive ale proiectelor revolu]ionare ncifrate n acesta. distinguish and to moderate the destructive impulses hidden
Satele romne[ti tr`iesc ast`zi (de dou`zeci de ani), din within any revolutionary project. Romanian villages nowadays
nou, sub semnul unei violen]e revolu]ionare care m`tur` (and for the past 20 years) are plagued by a revolutionary vio-
totul n calea ei. Totul trebuie rescris, ars [i ref`cut din lence that sweeps away everything in its path. Everything has
temelii, nimic din ceea ce era nu mai e bun, s`n`tos, to be rewritten, burnt down and built up again from scratch, no
viabil. ntre proiectul ceau[ist de anihilare a satului prin thing of the past can still be considered good, healthy or viable.
nlocuirea sa cu tabere de munc` n agricultur`, n care Between Ceau[escu's agenda to annihilate the village altogether
]`ranii erau caza]i la bloc, [i transformarea actual` a and replace it with agricultural work camps where peasants
aceluia[i teritoriu, diferen]ele sunt mai mici dect s-ar would lodge in apartment buildings, and the present transfor-
p`rea. Desigur, ast`zi lipse[te coeren]a aberant` [i mations of that same environment, the past and the cultural
malign` a ideologiei, dar rela]ia locuirii cu teritoriul, tre- peculiarities of the village are being severely and irreparably
cutul [i particularit`]ile culturale se modific` la fel de altered. Instead of the communist vision of entire blocks of tiny,
grav [i definitiv. n loc de cartiere de mici blocuri unsanitary flats, the village of today and tomorrow advertises
insalubre, satul de azi [i de mine va expune o imagine an agglomeration of wacky, weird 'villas' in an absolute confu-
n care se vor nghesui vile fistichii [i ciudate, ntr-o sion of styles, shapes and colours. And, as with so many other
deplin` debandad` de stiluri, forme [i culori. {i, ca n national domains, there is a lack of serious preoccupation,
attea alte domenii na]ionale, nu exist` preocupare applied research and debates concerning the future of an envi-
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}~
OLANE. CASE TRADI}IONALE DIN DOBROGEA

valoroas`. El doar distruge furibund [i recl`de[te mime- ronment that is still home to half the population of the country
tic, copiind prost modele inadecvate, acceptnd n the village. And the village, as anyone with the slightest
carnea sa orice gref`, orict de nepotrivit`. interest in the matter can plainly see, is no longer capable of
De aceea urmele arhitecturii tradi]ionale sunt de g`sit secreting its own formula for a coherent and valuable existence.
numai n zonele cele mai s`race [i mai izolate, casele It is so caught up in an endless cycle of destructive rages and
vechi subzist` (aproape) numai n gospod`riile b`trne[ti, mimetic rebuilding based on cheap copies of inadequate models,
n care lipse[te vigoarea pe care violen]a schimb`rii o that its flesh now tolerates any graft whatsoever, no matter how
reclam`. Orict de aberant ar suna pentru o minte ill a match it may be.
normal`, ast`zi, n Romnia, arhitectura popular` este This is the reason why traces of traditional architecture can now
conservat` doar de b`trne]e [i de lene. only be found in the poorest and most isolated of areas, where
Spre deosebire de Stuf, care propunea o structur` edi- old houses (barely) subsist in the households of the elderly, who
torial` n patru capitole bazat` pe focusul progresiv, lack the vigour that this violent wave of change demands of
peisaj cas` gospod`rie detalii, Olane este struc- them. As strange as it may sound to a normal mind, today, in
turat diferit. Romania, folk architecture is only preserved thanks to old age
Teritoriul mult mai vast [i mai ales incredibila diversitate and sloth.
tipologic` a obiectivelor fotografiate ne-a condus c`tre o The editorial structure of Pantiles is very different from the
punere n pagin` care s` marcheze n primul rnd four-chapter division based on progressive focus proposed in
provenien]a fotografiei, respectiv satul n care se g`se[te Stuf: landscape house household details. The much
fiecare cas`. Apoi, din motive de natur` strict editorial`, vaster territory and, more to the point, the remarkable typologi-
am ales s` mp`r]im teritoriul dobrogean n trei felii ori- cal diversity of the objectives photographed in this album led us
zontale, de sud, centru [i nord, inegale ca suprafa]` sau to a set-up that primarily marks the origin of the photograph,
densitate de case fotografiate, utile numai n logica de a respectively the village where the house can be found. Then, for
face cartea mai u[or de urm`rit. Prin urmare, cine va strictly editorial concerns, we chose to divide the Dobrogean ter-
c`uta altfel de ra]iuni (istorice, geografice, culturale etc.) ritory into three horizontal stripes, southern, central and north-
nu cred s` aib` vreun rezultat. ern, unequal in surface and the density of photographed houses,
Pentru textele care nso]esc imaginile, de ast` dat` gru- only useful in making the book easier to go through. Whoever
pate ntr-un capitol de sine st`t`tor, am optat pentru should wish to seek out other reasons for this division (historic,
oameni [i perspective fundamental diferite: de la diversi- geographic or cultural) is unlikely to find any.
tatea etnic` ce a f`cut posibil` diversitatea arhitectural` a For the texts that accompany the images, this time grouped into
zonei, la o analiz` a disolu]iei arhitecturii vernaculare a[a an independent chapter, we opted for fundamentally different
cum o tr`im ast`zi, [i de la survolul cultural al colinelor people and perspectives: from the ethnic diversity that made pos-
ntre care se ascund satele pn` la memorii personale sible the architectural diversity of the region, to an analysis of
legate de satul dobrogean. the dissolution of vernacular architecture as experienced by us
Scopul nostru, n mod cert, nu a fost acela de a construi today, to a cultural survey of villages hidden in the hills and all
o pozi]ie ferm` [i un punct de vedere clar sau militant, the way to personal memoirs relating to the Dobrogean village.
ci mai degrab` de a marca un moment dificil, pe care, Our goal was certainly not to establish a firm position or con-
dac` nu vom [ti s`-l gestion`m cum se cuvine, peste nu vey some clear or militant point of view, but rather to mark a
foarte mul]i ani tot ceea ce va fi r`mas din arhitectura difficult moment in time should we prove unable to manage
popular` dobrogean` va fi numai albumul acesta. E un this moment in an appropriate manner, it is possible that not
fapt c` arhitectura popular`, odat` cu modelul de soci- so many years from now, all that will be left of Dobrogean
etate care a produs-o, e pe cale de dispari]ie peste tot n architecture may very well be this album. It is fact that folk
lume. Ne putem mp`ca, la ad`postul unor argumente architecture and the societal model it puts forth are about to dis-
intelectuale sau al nesim]irii pure, cu acest lucru sau appear all over the world. Sheltered by intellectual argumenta-
putem face un efort s` n]elegem dac` semnele constru- tion or sheer ignorance, we may reconcile ourselves
ite ale bunicilor de la ]ar` mai pot furniza modele, inspi- to this fact, or we may make an effort to
ra]ie sau valori utilizabile ast`zi. Eu, unul, cred c` da [i understand whether or not the built traces of
sper c` albumul acesta s` mai conving` [i pe al]ii. our rural grandparents might still provide mod-
els, inspiration or values that are useful and
BRUNO ANDRE{OIU usable today. I for one believe this to be true and I
hope this album will be instrumental in convincing others
of the same.

8 PREFA}~
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
OLANE. CASE TRADI}IONALE DIN DOBROGEA

154 CAUGAGIA
OLANE. CASE TRADI}IONALE DIN DOBROGEA

160 CAMENA
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

161 CAMENA
OLANE. CASE TRADI}IONALE DIN DOBROGEA

172 IZVOARELE
OLANE. CASE TRADI}IONALE DIN DOBROGEA

178 IZVOARELE
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

179 IZVOARELE
OLANE. CASE TRADI}IONALE DIN DOBROGEA

186 IZVOARELE
OLANE. TRADITIONAL HOUSES FROM DOBROGEA

187 IZVOARELE
OLANE. CASE TRADI}IONALE DIN DOBROGEA

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,
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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
70 lei igloopatrimoniu