Arhitectura

SOROCA URBAN DEVELOPMENT IN THE INTER-WAR PERIOD.
Vitalie Iațiuc.
From 1918 until 1944, the town of Soroca was a part of the Kingdom of Romania, except the period from July 1940 to July 1941, when it was part of the Soviet Union. The population of the city reached up to 22,450 people, and an area of 650 ha. During the difficult economic situation after the First World War, the Romanian state and society reacted with caution and wisdom to the problems existing in the newly adhered to the Romanian state, Bessarabia. In the 1920s, many publications related the economic problems of Bessarabia. The analysis of the situation in Soroca was mandatorily present in these papers.
Changes in the city center landscaping began on October 10, 1921, when the monument of General Poetaș, who fell in battle in January 1919, was built in the center of the commercial market, between the "old" and "new" cities. The place was renamed Union Square. Until 1930, all shops were moved to another new commercial market. Union Square was set up as a park and planted with trees.
The construction of the new cathedral in neo Romanian architectural style - St. Paraskeva Pious, designed possibly by architect Valentin A. Voițehovski, began in this park in 1936. Building dimensions were approximately 32.5 х 22.0 m. The spacious interior could accommodate from 700 to 900 parishioners. The construction was interrupted by the Second World War, when the walls were built up to the dome. In such unfinished state, without dome, the cathedral existed for 20 years, and in 1962 it was blown up.
In the second half of the 1930s, it was decided to allocate special funds to create a modern engineering urban infrastructure: new power electrical network and city water supply system. Along the bank of the Dniester, the dam was built with a boardwalk and a well-arranged public beach, and special funds were allocated from the budget for its maintenance. For „A. D. Xenopol” Lyceum a new 2-storey building was constructed in 1934-1936. Civil architecture of new apartments buildings, from that period, is represented by 2-storey residential buildings in the constructivist style. Several public buildings were built the city center in eclectic style with elements of Art Nouveau.
The Romanian city administration actively began the reconstruction of the whole locality, upon their return in July,1941. A detailed report regarding the reconstruction and development of the city for a period of 25-30 years with a budget of 114.225 million lei was sent to the governor of Bessarabia on April 18, 1942. The City Hall's budget allocated for the reconstruction of Soroca for the period 1942-1943 was estimated at 11,803 million lei. Unfortunately, the Second World War, stopped the achievement of these plans.
Keywords: Bessarabia, Soroca, Poetaș, Voițehovski, St. Paraskeva Pious, A. D. Xenopol, interwar period.

Deși percepția generală a celor care nu activează în domeniul proiectării sau al construcțiilor este aceea că piața de proiectare de arhitectură din România este una atractivă din punct de vedere financiar, la o analiză mai amănunțită a cifrelor se poate constata cu ușurință că aceste impresii sunt nefondate. Pentru a demonstra acest aspect cu date certe voi trata în capitolele următoare foarte pe scurt și evoluția cifrelor din piața de proiectare de arhitectură din România și Europa. Această lucrare se va concentra în special pe teoriile lui Michael Porter, profesor de management strategic la Harvard Business School deoarece teoriile acestuia au o largă răspândire, sunt acceptate la nivel global, fiind totodată citate de majoritatea cercetătorilor din domeniul economic și mai ales al managementului strategic. O astfel de analiză este necesară deoarece principiile managementului strategic pot fi aplicate și în businessurile de proiectare, ele putând reprezenta o modalitate de a ieși din cercul vicios creat de practicile neloiale amintite în paragraful anterior.

When the word „expressionism” is mentioned in science, it usually refers to style movement which appeared in architecture and the arts at the beginning of the XX century and lasted until 1930. However, there is a wider interpretation of the term, which defines expressionism not only as a style movement but as one of the key creative tendencies, i.e. the essential factor in all arts throughout history. By relying on the wider interpretation, this paper discussed potential presence of expressionism in architectural culture in Serbia during the XX century, even though the prevailing opinion claimed that expressionism did not have a more significant influence on the architecture in Serbia. By critically analyzing theoretical positions in literature, we examined the similarities and differences between basic aesthetic categories: „expression” and „expressiveness”. We also confirmed their relation to the phenomenon of expressionism, with an aim of providing a clearer interpretation of it, as well as establishing its presence in Serbian architecture. By studying most prominent expressionist achievements in world architecture, we extracted expressionistic principles and characteristics whose presence we examined on leading architectural examples in Serbia. By comparative analysis of selected architectural objects, made in XX century in Serbia and marked in reference books as expressionist, our paper concludes that expressionism represents the key principle and one of the essential creative tendencies in XX century architecture in Serbia. Moreover, expressionism in Serbia did not emerge at the same time as in other parts of Europe (1905-1930), the turning point leading to its appearance was the beginning of the sixties in the XX century, when the first projects and realizations appeared, implementing complete expressionist articulation, which opposed the existing viewpoints in science.

Kada se u nauci pominje reč „ekspresionizam”, u većini slučajeva se misli na stilski pravac, koji se javio u arhitekturi i umetnostima početkom XX veka i koji je trajao do 1930. godine. Sa druge strane, postoji i šire tumačenje pojma, po kome ekspresionizam nije samo stilski pravac, već jedna od ključnih stvaralačkih tendencija, tj. temeljni činilac u svim umetnostima tokom istorije. Oslanjajući se na šire tumačenje, u radu je razmatrana mogućnost postojanja ekspresionizma u arhitektonskoj kulturi u Srbiji tokom XX veka i pored uvreženog mišljenja, da on nije imao značajnijeg uticaja na arhitekturu u našoj sredini. Kritičkom analizom teorijskih stavova u literaturi, razmotrene su sličnosti i razlike između osnovnih estetskih kategorija „ekspresije” i „ekspresivnosti”. Takođe, je konstatovana njihova relacija sa fenomenom ekspresionizma, a sve sa ciljem jasnijeg tumačenja i evidentiranja njegove pojave u arhitekturi u Srbiji. Studijom najznačajnijih ekspresionističkih ostvarenja u arhitekturi u svetu, su ekstrahovani ekspresionistički principi i obeležja, čije je postojanje istraženo na referentnim arhitektonskim primerima iz Srbije. Komparativnom analizom odabranih arhitektonskih ostvarenja, koji su nastali tokom XX veka u Srbiji i koji su u literaturi označeni kao ekspresionistički, u istraživanju je izveden zaključak, da ekspresionizam predstavlja temeljni princip i jednu od ključnih stvaralačkih tendencija u arhitekturi XX veka u Srbiji. Takođe, ekspresionizam se ne javlja u istom periodu kad i u drugim delovima Evrope (1905-1930), već je prelomni trenutak za njegovu pojavu početak šezdesetih godina XX veka, kada se javljaju prvi projekti i realizacije, kod kojih je ekspresionistički izraz u celosti sproveden, što je suprotno onome što je do sada važilo u nauci.

The five petal flower is not a simple decoration. It's an important heraldry. Looking at the old seal of Câmpulung, which, together with the seals of the cities of Baia (14th century) and Roman (15th century), are the only ones with a legend in Latin, we draw attention to a repetition - the presence of two times of the star and the semilune. The star and the crescent also appear on the coat of arms of Moldova. Next to these flowers with five petals. In order to find the meaning of the symbol, there are presented old and new examples of rosettes or flowers with five petals, respectively ten petals, if they are double lobes. The study looks at elements of architecture, urbanism and landscaping in setting up the whole area of Campulung with the two towers on which these flowers appear in stone sculptures, that of Negru Voda, the highest medieval center in Wallachia and SfGheorghe church potters. The location of these towers, taking into account the distances and landslides, reveals advanced astronomy knowledge. This type of construction and the tectonic discharge of the system, using semisferic arches and domes, leaving ample, free-at-ground ground voids, forming the triumph arcs, shows the personality of the imported rulers who ordered them. In the 14th century Câmpulung was the capital of Wallachia where, in 1352, it passed to the eternal, the Great Basarab I the Founder.

Or more precisely, we are imagining a sane world after the virus, one where, instead of just trying to put things back the way they were, we act on what we've learned.
n that future, those empty offices not used to house bureaucrats or secret police will be turned into state museums: conservative, elitist institutions whose general ambiance balances somewhere between that of a cemetery and that of a bank.
In a world built around care and solidarity, much of this vast and absurd office space would indeed be blown up, but others could be turned into free city universities, social centers and hotels for those in need of shelter. We could call them ‘Museums of Care’ — precisely because they are spaces that do not celebrate production of any sort but rather provide the space and means for the creation of social relationships and the imagining of entirely new forms of social relations.

Pe baza unor imagini de epocă, lucrarea prezintă trei cadrane solare vechi din Banat, considerate a fi dispărute: cadranul solar de pe Vechea Primărie din Timișoara, cel de pe Biserica romano-catolică din Sasca Montană (jud. Caraș-Severin) și cel din Cazanele Dunării (jud. Mehedinți).

The paper will focus on a series of urban restitution on the genesis and early evolution of the medieval towns in the extra-Carpathian space. It therefore starts with a brief presentation of the Romanian historiography on the topic, insisting particularly on misplacement of towns such as Vicina, Cliilia-Lycostomo, Milcovia etc. on the lack of specific Information about others such as Tomis-Constanţa, Isaccea, Cernavoda, Hârşova, Bârlad, Şiret, Severin etc., or on poor archaeological research on a great number of urban centers and mismatching of some data (historical, archaeological, urban, architectural, topographical).
The conclusion, from the above mentioned reasons, is that there are only disparaged pieces of information and the general perspective is missing.
This is the reason why the paper will try to structure its domain, from the point of view of urban evolution, starting the births of the new settlements in the extra-Carpathian space and continuing the process up to the modern times.
The timeline looks as follows:
1. Pre-state stage (up to the 14th century).
2. The birth, strengthening and centralization of the independent medieval States.
3. The dependency stage on the Turkish empire including the Phanariot reigns, from the second half of the 16th century, to the beginning of the 19th century.
A parţial conclusion would be that, if, during the first stage there appear towns belonging to different influences (South Eastern European, Western, Northern, Oriental), which are manifest in the relationship between. town and their defenses, in the second stage, the procedures used for urban development became uniform, stemming from models, practices and methods of the Central European Environment. At this stage, some prior evolutions are confirmed.
The paper is founded on a number of studies of case: Cetatea Albă, Orheiul Vechi and Suceava and each comprises the description of the site, the cartographic support used, historical and archaeological data and the description of the complex built, all grouped according to the evolution stages of the respective town.

Anul trecut a fost prezentat un studiu mai vechi de restructurare a zonei centrale Bacău care nu a fost realizat în practică deoarece administraţiile locale nu au răspuns solicitărilor și nu au ţinut cont de propunere. Imagini din prezentarea de anul trecut evidenţiază zona Catedralei Ortodoxe și structura stradală a centrului Bacăului cu propunerea de atunci în care strada Mihai Viteazul devenea pietonală. O a doua propunere prevedea transformarea zonei centrale integral în zonă pietonală cu inel de circulaţie pe strada 9 Mai și Războieni

Bivalni prostor naših prednikov je bil odvisen od narave in prostora. Osnovni del bivališča je bila streha-zaklon, iz katere-ga se je kasneje dvignila hiša. Strešna kri-tina je danes nekaj samoumevnega, nekoč pa so na izbor primerne kritine vplivale človeku dane surovine. Na Slovenskem so bile hiše najpogosteje prekrite s slamo, pred prihodom opečne strehe pa tudi s skodla-mi, o katerih bomo govorili. Leseno kriti-no danes ohranjajo in obujajo predvsem na Gorenjskem in Koroškem. Znano je, da je bila kritina nekoč razširjena tudi na ob-močju Kočevske in Notranjske, kjer je bila izdelava skodel tudi že podrobno raziskana. Vmes leži Ribniška dolina. Kakšna je ribni-ška zgodba o izdelovanju skodel-šinder, kot ji pravimo pri nas?

Özetle bu çalışmanın amacı, her dönemde canlılar için önemli olan su, antik dönem kentlerinin ve kent planlanmasında belirleyici unsur olması ve bununla da kalmayıp insanları yapısal olarak bir araya toplamasıdır. Su antik kentlerin yerlerinin seçilmesinde kentlerde yaşayan insanların günlük yaşamını idame ettirmesinin yanı sıra, sosyal yapılarda da önemli bir rol almıştır.

One of the few examples in Europe of a statue depicting an angel carrying a sundial can be found at Sturdza Castle in Miclăușeni (county of Iași, north-eastern Romania). The edifice was built between 1880-1904 by Gheorghe Sturdza and his wife Maria, members an old Romanian aristocratic family. The polar gnomon is now missing but the unmarked hour lines can still be traced. The sundial was designed to measure local apparent time from 5 am to 7 pm, although it probably failed to do so because the shadow of the gnomon could never reach over the horizontal line to the first and last hour. Also, the western wing of the building blocked the sun during much of the afternoon. We propose a restoration following Albrecht Dürer’s medieval graphical method for laying out vertical south facing sundials with polar gnomons.