Discursurile (post)moderne ale arhitecturii

The (Post)Modern Dialogues of Architecture

½2¹

Datele edi]iei
Data about the edition

Editor/Publisher: Monografiile «Arhitext»

Arpad Zachi Funda]ia Arhitext design
Str. Academiei nr. 18-20, Sector 1, Bucure[ti, Romånia
Redactori/Editorial staff: tel./phone number: 40(21) – 311.10.12
Arpad Zachi e-mail: arhitext@b.astral.ro
Livia Ivanovici arhitext_redactie@b.astral.ro

Design/Graphic design: Copyright©2008 Arhitext

Faber Studio Funda]ia Arhitext Design are dreptul de copyright
(Silvia Olteanu, Alexandra R`dulescu, Dinu pentru toate materialele con]inute în acest volum.
Dumbr`vician) Reproducerea integral` sau par]ial` a textului sau
a materialului ilustrativ poate fi f`cut` numai cu
Tehnoredactare/Make-up editorship: acordul scris al posesorului dreptului.
Silvia Olteanu The book is subject to copyright, therefore any
reproduction of the text or illustrations or otherwise
Traduceri/Translations: should be approved in writing only by the copyright
Magda Teodorescu holder.
Claudia Rada
Livia Ivanovici Sponsori principali/Main sponsors:
SIKA ROMANIA SRL
Corectur`/Proofreading: SC ANDREESCU&GAIVORONSCHI SRL
Simona Gala]chi
Livia Ivanovici Sponsori/Sponsorship:
WISS TEHNIC SRL
Fotografii/Photos: BAUMIT ROMÅNIA
Arpad Zachi SC LUCANIK SRL
Ioan Andreescu SC BA&KI SRL
Vlad Gaivoronschi SC NGF CONSTRUCT SRL
Octavian Topai SC ALUKÖNIGSTAHL SRL
Ovidiu Mic[a MODATIM INVESTMENT SA
Mihai Botescu SC DOSETIMPEX SRL
SC IMPERIUM PRODUCT OMNIA INTERNATIONAL SRL
Schi]e [i desene/Sketches & Drawings:
Ioan Andreescu Cartea a ap`rut cu sprijinul
Vlad Gaivoronschi Administra]iei Fondului Cultural Na]ional.
Romi Adam The book appeared with the support of the
Administration of National Cultural Fund.

Descrierea CIP a Bibliotecii Na]ionale a Romåniei

Discursurile (post)moderne ale arhitecturii = The

(Post)Modern Dialogues of Architecture / trad.:
Magda Teodorescu, Claudia Rada ; pref.: Dana
Vais ; postf.: Arpad Zachi. – Bucure[ti : Editura
Funda]iei Arhitext Design, 2008
ISBN 978-973-85482-9-9

I. Teodorescu, Magda (trad.)

II. Rada, Claudia (trad.)
III. Vais, Dana (pref.)
IV. Zachi, Arpad (postf.)

72
 ½3¹

Cuprins
Content

Prolog «Star Telefonica»

«Star Telefonica» 118
Prologue 5 Sediul CFR Marf` Timi[oara
Curriculum Vitae Ioan Andreescu Headquarters of Timi[oara CFR Marf` Branch 122
Curriculum Vitae Ioan Andreescu 6
Vlad Gaivoronschi
Curriculum Vitae Vlad Gaivoronschi
Curriculum Vitae Vlad Gaivoronschi 10 Vlad Gaivoronschi 128
Pandora Boutique
DANA VAIS
Dincolo de certitudini. Andreescu [i Gaivoronschi.
Pandora Shop 132
Beyond Certainties. Andreescu and Gaivoronschi. 14 Casa Sere Traian
Sere Traian House 138
Lucrari [i proiecte Casa Bistriceanu
Works and projects 32 Bistriceanu House 144
Lucr`ri realizate \n comun Casa Dr. Cioc
Common projects 34 Dr. Cioc’s House 152
Amenajare Sediu de Proiectare Andreescu & Gaivoronschi Casa Ionescu
Fitting Out Andreescu & Gaivoronschi Office 38 Ionescu House 158
Bijuteria «Gold Tim» Hotel Savoy
«Gold Tim» Jewelry Store 44 Savoy Hotel 164
Pia]a Badea Cår]an Locuin]` familial`, zona C`ii Martirilor
Badea Cår]an Market 48 Family dwelling, C`ii Martirilor District 176
Hotel Reghina Locuin]` de vacan]`, R`b`gani

Reghina Hotel 56 R`b`gani Holiday Villa 184

Casa Po[a
Agen]ia comercial` [i de rela]ii cu publicul Romtelecom, Timi[oara
Romtelecom, Timi[oara Commercial and Public Relations Agency 62 Po[a House 190
«City Business Centre»
Complexul hotelier Perla
Perla Hotel Complex 68 City Business Centre 196
Ioan Andreescu Epilog
Ioan Andreescu 84
Epilogue 210
Cofet`ria «Trandafirul»
«Trandafirul» Confectionery 88 Arpad ZACHI
Centrul de documentare al Camerei de csomer] Sub semnul dialogului
The Documentation Centre of the Chamber of Commerce 92 Under the Auspices of Dialogue 212
Casa Jumanca List` de proiecte [i colaboratori
Jumanca House 96 Projects and Collaborators List 214
Hotel Reghina Blue
Reghina Blue Hotel 102
Galeria 1
Gallery 1 112
Prolog
Prologue
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½6¹

Ioan Andreescu
CURRICULUM VITAE

1957 N`scut \n, Timi[oara, Romånia

1979 Diplom` \n Arhitectur`, Institutul Politehnic Traian Vuia Timi[oara, Facultatea
de Construc]ii, Sec]ia de Arhitectur`
1982 Diplom` \n Arhitectur`, Universitatea de Arhitectur` «Ion Mincu», Bucure[ti
1999 Doctor cu lucrarea «Origini spirituale \n Arhitectura Modern`», Universitatea de
Arhitectur` «Ion Mincu», Bucure[ti

Experien]` profesional`

din 1990 Partener principal la S.C. Andreescu & Gaivoronschi SRL

1983-1990 Arhitect la I.P.R.O.TIM Timi[oara; autor [i coautor al mai multor proiecte, unele
construite, coautor al unor proiecte pentru concursuri interna]ionale

Proiectare, realiz`ri

– peste 80 de proiecte, inclusiv de concurs, dintre care peste 50 realizate

Activitate academic`

2002 – 2008 – Conferen]iar la Facultatea de Arhitectur` din Timi[oara, titular al cursurilor

«Modernizare [i reabilitare» (anul VI, sem.I), «Istoria arhitecturii moderne» [i
«Proiectare \n stil» (anul IV), «Curente [i metode contemporane» (anul VI, sem. I),
«Regenerare urban`» (sem I [i II – Master class de Urbanism) [i «Teorii [i
metode \n restaurare [i reconversie» (Master class – Restaurare, sem. II),
coordonator al activit`]ii de proiectare de sinteze – restaurare [i reconversie
(master, sem. II), preocupare pentru noile proiecte complexe de regenerare
urban` [i de landscape [i noile curente din arhitectura contemporan`,
preocupare pentru interven]iile \n situri istorice protejate
1991-2002 {ef lucr`ri, Universitatea «Politehnic`» din Timi[oara, Facultatea de Arhitectur`
1990 Asistent, Universitatea «Politehnic`» din Timi[oara, Facultatea de Arhitectur`

Premii [i distinc]ii

1981 Premiul II la «Central Glass International Design Competition», Tokyo (al`turi de

Vlad Gaivoronschi, Florin Colpacci, Adrian Iona[iu, Claudiu Panaitescu)
1986 Premiul Uniunii Na]ionale a Arhitec]iilor din Romånia (cu {erban Sturdza, Vlad
Gaivoronschi, Dan Popa, Mihai Botescu, Doru Covrig, Nicolae Bu[il`) – Centrul
Civic Timi[oara
1987 Premiul II la Concursul «O cas` poetic`» – Bucure[]i
1990 Premiul I la concursul local pentru Catedrala Ortodox` – Fabric (\mpreun` cu
Vlad Gaivoronschi)
1994 Dou` cita]ii la Bienala de Arhitectur` Bucure[ti
 ½7¹

1957 Born in Timi[oara, Romania

1979 University degree in Architecture, Traian Vuia Polytechnic Institute, Timi[oara,
Faculty of Constructions, Architecture Section
1982 University degree in Architecture, awarded by «Ion Mincu» University of
Architecture, Bucharest
1999 PhD with the thesis «Spiritual Origins in Modern Architecture», awarded by «Ion
Mincu» University of Architecture, Bucharest

Professional experience

from 1990 Main partner with S.C. Andreescu & Gaivoronschi SRL
1983-1990 Architect at I.P.R.O.TIM Timi[oara; author and co-author of various projects,
several materialized, co-author of certain projects for international contests;

Design activities, achievements:

– over 80 projects, including competition projects, 50 of which have been materialized

Academic activity

2002 – 2008 Principal lecturer at the Faculty of Architecture, Timi[oara, permanent professor
for such courses as «Modernization and restoration» (VIth year, Ist semester),
«History of modern architecture» and «Designing in style» (IVth year),
«Contemporary trends and methods» (VIth year, Ist semester), «Urban
Regeneration» (Ist and IInd semesters – Urbanism master class) and «Theories and
methods for restoration and conversion» (Master class – Restoration, IInd
semester), coordinator of the synthesis design activities – restoration and
conversion (master, IInd semester), concern with the new complex urban
regeneration and landscape projects and with the new trends in contemporary
architecture, concern with interventions in protected historical sites.
1991-2002 senior lecturer, Polytechnic University, Timi[oara, Faculty of Architecture;
1990 Assistant, Polytechnic University, Timi[oara, Faculty of Architecture;

Prizes and distinctions

1981 IInd Prize at the «Central Glass International Design Competition», Tokyo
(together with Vlad Gaivoronschi, Florin Colpacci, Adrian Iona[iu, Claudiu
Panaitescu)
1986 National Prize of the Romanian Architects Union (together with Serban Sturdza,
Vlad Gaivoronschi, Dan Popa, Mihai Botescu, Doru Covrig, Nicolae Busila) –
Timi[oara Civic Center
1987 IInd Prize at the Contest «A poetical house» – Bucharest
1994 Nominalizare \n cadrul Bienalei de Arhitectur` Bucure[ti pentru amenajarea
magazinului de bijuterii «Gold Tim» (\mpreun` cu Vlad Gaivoronschi, Ioan Trif,
1995 Premiul special al revistei «Arhitext Design» pentru lucrarea «Centrul de
Documentare al Camerei de Comer] Timi[oara» (\mpreun` cu arh. Adrian Iona[iu)
1995 Premiul trianual «Mac Constantinescu» (\mpreun` cu Vlad Gaivoronschi)
1996 Premiul Bienalei Interna]ionale de Arhitectur` de la Bucure[ti – Arhitectura de
interior: «Amenajarea Camerei de Comer]» Timi[oara (\mpreun` cu Adrian Iona[iu)
1996 Premiul Bienalei Interna]ionale de Arhitectur` – Bucure[ti –«Pia]a Badea
Cår]an», Timi[oara (\mpreun` cu Vlad Gaivoronschi [i Adrian Iona[iu)
1997 Premiul European pentru cea mai bun` construc]ie metalic` (ECCS) – pentru
«Membran` tensionat` hibrid` pentru o pia]` \n Timi[oara» (\mpreun` cu:
Vlad Gaivoronschi, Adrian Iona[iu, prof. ing. V. Gioncu, ing. V. V`caru, dipl. ing.
H. Dürr [i dipl. ing. R. Essrich)
1998 Diploma de performan]` pentru finalizarea lucr`rii «Consolidare [i restaurare
Castel Banloc» oferit` de UNRMI – Uniunea Na]ional` a Restauratorilor de
Monumente Istorice (\mpreun` cu Vlad Gaivoronschi)
1999 Premiul special al revistei «Arhitext Design» pentru Hotelul Reghina Timi[oara
(\mpreun` cu Vlad Gaivoronschi)
1999 Premiul «Cel mai complex proiect ArchiCAD» oferit \n cadrul «Simpozionului de
arhitectur` ArchiCAD» pentru lucrarea «Casa Jumanca», Timi[oara (\mpreun`
cu F. Konig)
2000 Nominalizare la Bienala de arhitectur` Bucure[ti pentru «Amenajare Agen]ie
comercial` [i de rela]ii cu publicul Romtelecom», Timi[oara (\mpreun` cu Vlad
Gaivoronschi)
2000 Premiul special «Helios» al Bienalei de arhitectur` Bucure[ti pentru «Amenajare
Agen]ie comercial` [i de rela]ie cu publicul Romtelecom» Timi[oara (\mpreun`
cu Vlad Gaivoronschi)
2001 Premiul revistei «Arhitext Design», sec]iunea Design Interior pentru «Amenajare
Agen]ie comercial` [i de rela]ii cu publicul Romtelecom» Timi[oara (\mpreun`
cu Vlad Gaivoronschi)
2005 Nominalizare a revistei «Arhitext Design» pentru amenajare exterioar` «curte
japonez`» Hotel Reghina Timi[oara (\mpreun` cu Dan Munteanu)
2006 Premiul filialei OAR Timi[oara pentru design interior – magazin «Star
Telefonica», Timi[oara (\mpreun` cu arh. Marius Hår]a [i arh. Claudiu Toma)
2007 Nominalizare \n cadrul Festivalului «|ntre/|ntru culturi» organizat de revista
«Arhitext Design» la Sibiu pentru hotel Reghina
2007 Nominalizare \n cadrul Anualei de Arhitectur` timi[orene pentru proiect
«Victoria» Sibiu (\mpreun` cu arh. Dan Munteanu) [i pentru proiectul Club
nautic [i birouri Timi[oara

Expozi]ii:

Participant la expozi]ii \n ]ar` [i str`in`tate (Bucure[ti, Cluj, Timi[oara, Salonic, Istanbul, Szeged,
Budapesta, Leipzig, Viena, Bienala de la Vene]ia)
1990 Ist Prize at the local contest for the Orthodox Cathedral – Fabric (together with
Vlad Gaivoronschi)
1993 IIIrd Prize at the National Contest for the refurbishment of «700 Square»,
Timi[oara (with Vlad Gaivoronschi and Adrian Iona[iu)
1994 two mentions at the Bucharest Architecture Biennale
1994 nomination within the Bucharest Architecture Biennale for the refurbishment of
«Gold Tim» Jewelry Shop in Timi[oara (together with Vlad Gaivoronschi, Ioan Trif)
1995 Special prize granted by «Arhitext Design» magazine for the work «Documentation
Center of the Timi[oara Chamber of Commerce» (together with architect Adrian
Iona[iu)
1995 «Mac Constantinescu» triennial prize (together with Vlad Gaivoronschi)
1996 The prize of the Bucharest International Architecture Biennale – Interior
architecture: «Refurbishment of the Timi[oara Chamber of Commerce» (together
with Adrian Iona[iu)
1996 The prize of the Bucharest International Architecture Biennale – «Badea Cår]an
Square» Timi[oara (together with Vlad Gaivoronschi and Adrian Iona[iu)
1997 Prize granted by ECCS Steel Design Awards for «Badea Cår]an» Square, Timi[oara
(together with Vlad Gaivoronschi, Adrian Iona[iu, Enginner professor V. Gioncu,
Enginner V. V`caru, Engineer H. Dürr and engineer R. Essrich)
1998 Performance diploma for completion of the work «Consolidation and restoration
of Banloc Castle», awarded by UNRMI – National Union of Restorers of Historical
Monuments (together with Vlad Gaivoronschi)
1999 Special prize of «Arhitext Design» magazine for Reghina Hotel, Timi[oara (together
with Vlad Gaivoronschi)
1999 The prize «Most complex ArchiCAD project», awarded during the «ArchiCAD
Architecture Symposium» for «Jumanca House» project, Timi[oara (together with
F. Konig)
2000 Nomination at the Bucharest Architecture Biennale for «Refurbishment works to
the Romtelecom commercial and public relations agency», Timi[oara (together
with Vlad Gaivoronschi)
2000 «Helios» special prize of the Bucharest Architecture Biennale for «Refurbishment
works to the Romtelecom commercial and public relations agency», Timi[oara
(together with Vlad Gaivoronschi)
2001 The prize of «Arhitext Design» magazine, Interior Design section, for «Refurbishment
works to the Romtelecom commercial and public relations agency», Timi[oara
(together with Vlad Gaivoronschi)
2005 Nomination of «Arhitext Design» magazine for exterior arrangement works –
«Japanese garden» at the Reghina Hotel, Timi[oara (together with Dan Munteanu)
2006 Prize of OAR Timi[oara Subsidiary for interior design – «Star Telefonica» shop,
Timi[oara (together with architect Marius Hår]a and architect Claudiu Toma)
2007 Nomination at the Festival «Inside/Insight Cultures» organized by «Arhitext Design»
magazine in Sibiu for Reghina Hotel
2007 Nomination at the Annual Architecture Event organized in Timi[oara for the
«Victoria» project, Sibiu (together with architect Dan Munteanu) and for the
project nautical club and offices, Timi[oara

Exhibitions:

Participant in Romanian and foreign exhibitions (Bucharest, Cluj, Timi[oara, Salonic, Istanbul,
Szeged, Budapest, Leipzig, Vienna, Venice Biennale)

(Translation: Claudia Rada)

 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½10¹

Vlad Gaivoronschi
CURRICULUM VITAE

1956 N`scut \n Cluj-Napoca, Romånia

1979 Diplom` \n Arhitectur`, Institutul Politehnic Traian Vuia Timi[oara, Facultatea
de Construc]ii, Sec]ia de Arhitectur`
1982 Diplom` \n Arhitectur`, Universitatea de Arhitectur` «Ion Mincu», Bucure[ti
2000 Doctor cu lucrarea «Matrici ale spa]iului tradi]ional», Universitatea de Arhitectur`
«Ion Mincu», Bucure[ti

Experien]` profesional`

din 1990 Partener principal la S.C. Andreescu & Gaivoronschi SRL

1983-1990 Arhitect la I.P.R.O.TIM Timi[oara; autor [i coautor al mai multor proiecte, unele
construite, coautor al unor proiecte pentru concursuri interna]ionale;

Proiectare, realiz`ri

– peste 80 de proiecte, inclusiv de concurs, dintre care peste 50 realizate

Activitate academic`

2003 – 2008 Conferen]iar la Universitatea «Politehnic`» din Timi[oara, Facultatea de Arhitectur`,

titular al cursurilor de Teoria arhitecturii pentru anii II [i III, atelier de proiectare anii
III [i V, membru \n comisia de diplom`
1993-1994 {ef lucr`ri, Universitatea «Politehnic`» din Timi[oara, Facultatea de Arhitectur`
1992 Profesor asociat pe un semestru la anul I, atelier de proiectare, École D’architecture
de Paris Belleville \n cadrul programului TEMPUS \ntre Universitatea de Arhitectur`
«Ion Mincu», Bucure[ti, École d’architecture Saint Luc en Vallonie de Liège -i École
d’architecture de Paris Belle Ville
1990 Asistent, Universitatea «Politehnic`» din Timi[oara, Facultatea de Arhitectur`

Premii [i distinc]ii

1981 Premiul II la «Central Glass Interna]ional Design Competition», Tokyo (cu Florin
Colpacci, Ioan Andreescu, Adrian Iona[iu, Claudiu Panaitescu)
1986 Premiul Na]ional al Uniunii Arhitec]ilor din Romånia (cu {erban Sturdza, Ioan
Andreescu, Dan Popa, Mihai Botescu, Doru Covrig, Nicolae Busila) – Centrul Civic
Timi[oara
1988 Premiul Na]ional al Uniunii Arhitec]ilor din Romånia, imobil bul. L. Salajan Timi[oara
1990 Premiul I la concursul local pentru Catedrala Ortodox` – Fabric (\mpreun` cu
Ioan Andreescu)
1993 Nominalizare \n cadrul Concursului Bianual «Arhitext Design», Pandora Shop, Timi[oara
1993 Premiul III la Concursul Na]ional pentru reamenajarea «Pie]ei 700», Timi[oara (cu
Ioan Andreescu [i Adrian Iona[iu)
1994 Premiul III la Concursul Na]ional pentru Biserica Martirilor, Timi[oara (cu Adrian
Iona[iu [i un colectiv de studen]i)
1994 Nominalizare \n cadrul Bienalei de Arhitectur`, Bucure[ti – Bijuteria Gold Tim
 ½11¹

1956 Born in Cluj-Napoca, Romania

1979 University degree in Architecture, Traian Vuia Polytechnic Institute, Timi[oara, Faculty
of Constructions, Architecture Section
1982 University degree in Architecture, awarded by the «Ion Mincu» University of Architecture,
Bucharest
2000 PhD with the thesis «Matrices of traditional space», «Ion Mincu» University of
Architecture, Bucharest

Professional Experience

from 1990 Main partner of S.C. Andreescu & Gaivoronschi SRL

1983-1990 Architect at I.P.R.O.TIM Timi[oara; author and co-author of various projects, several
materialized, co-author of certain projects for international contests

Design activities, achievements:

– over 80 projects, including competition projects, 50 of which have been materialized

Academic activity

2003 – 2008 Principal lecturer with «Politehnica» University, Timi[oara, Faculty of Architecture,
permanent professor for the courses Theory of Architecture, IInd and IIIrd year, design
workshop, IIIrd and Vth years, member of the university degree commission
1993-1994 Senior lecturer with «Politehnica» University, Timi[oara, Faculty of Architecture
1992 Associate Professor for one semester, during the Ist year, in the design workshop, École
D’architecture de Paris Belleville within the TEMPUS Program concluded between the
«Ion Mincu» University of Architecture, Bucharest, École d’architecture Saint Luc en
Vallonie, Liège and École d’architecture de Paris Belle Ville
1990 University assistant, «Politehnica» University, Timi[oara, Faculty of Architecture

Prizes and distinctions

1981 IInd Prize at the «Central Glass International Design Competition», Tokyo (with Florin
Colpacci, Ioan Andreescu, Adrian Iona[iu, Claudiu Panaitescu)
1986 National Prize of the Romanian Architects Union (with {erban Sturdza, Ioan Andreescu,
Dan Popa, Mihai Botescu, Doru Covrig, Nicolae Busila) – Civic Center, Timi[oara
1988 National Prize of the Romanian Architects Union, for the L. Salajan building, Timi[oara
1990 Ist Prize at the local contest for the Orthodox Cathedral – Fabric (together with
Ioan Andreescu)
1993 Nomination within the Biannual «Arhitext Design» Contest, Pandora Shop, Timi[oara
 Timi[oara (cu Ioan Andreescu [i Ioan Trif)
1995 Nominalizare \n cadrul concursului Bianual «Arhitext Design», Casa Fam. Sere, Timi[oara
1995 Premiul Trianual «Mac Constantinescu», Casa Fam. Sere, Timi[oara
1996 Premiul [i Medalia Bienalei de Arhitectur`, Bucure[ti – pentru Pia]a «Badea Cår]an»
(cu Ioan Andreescu, Adrian Iona[iu)
1996 Nominalizare \n cadrul Bienalei de Arhitectur` Bucure[ti – Hotel Perla 2 (cu Ioan
Andreescu)
1997 Premiul ECCS Steel Design Awards pentru Pia]a «Badea Cår]an» (cu Ioan Andreescu,
Adrian Iona[iu, Victor Gioncu)
1997 Nominalizare \n cadrul Concursului «Arhitext Design» – Hotel Perla 2 (cu Ioan
Andreescu)
1999 Premiul Na]ional al UNRMI pentru proiectul de restaurare [i refunc]ionalizare
Ansamblu Conac Banloc – (cu Ioan Andreescu)
1999 Premiul special al revistei «Arhitext Design» – Hotel Reghina (cu Ioan Andreescu)
2000 Nominalizare \n cadrul Bienalei de Arhitectur` Bucure[ti [i Premiul special al firmei
«Helios» pentru amenajarea Agen]iei comerciale [i de rela]ii cu publicul – Romtelecom
(cu Ioan Andreescu)
2001 Premiul «Arhitext Design» – pentru amenajare Agen]ie comercial` [i de rela]ii cu
publicul – Romtelecom, Timi[oara (cu Ioan Andreescu)
2002 Nominalizare \n cadrul Bienalei de Arhitectur` Bucure[ti pentru cartea Matricile
spa]iului tradi]ional.
2003 Premiul pentru arhitectur` «Arhitext Design» pentru Locuin]` Zona Martirilor, Timi[oara
2004 Nominalizare \n cadrul Bienalei de arhitectur` Bucure[ti pentru Locuin]a Zona
Martirilor, Timi[oara
2005 Nominalizare pentru design interior «Arhitext Design» pentru Amenajarea Sediului
SC Andreescu & Gaivoronschi
2006 Nominalizare \n cadrul Bienalei de arhitectur` Bucure[ti pentru Hotel Savoy, Timi[oara
2006 Nominalizare la categoria Cel mai bun arhitect pentru anul 2006 \n urma cercet`rii
sociologice \ntreprinse de CURS, TNS-CSOP, IMAS [i INSOMAR, reprezentånd opinia
arhitec]ilor romåni pentru proiectul «Zece pentru Romånia», realizat de Realitatea TV
2007 Nominalizare \n cadrul Festivalului «Arhitext Design», Sibiu – Hotel Savoy
2007 Premiul de Excelen]` pentru Arhitectur` \n cadrul Anualei de Arhitectur` organizat`
de Ordinul Arhitec]ilor, filiala Timi[, pentru Imobil de birouri, comer], servicii – City
Business Centre Timi[oara

Expozi]ii:

Participant la expozi]ii \n ]ar` [i str`in`tate (Bucure[ti, Cluj, Timi[oara, Salonic, Istanbul, Szeged,
Budapesta, Leipzig, Viena, Bienala de la Vene]ia)
1993 IIIrd Prize at the National Contest for the refurbishment works to «700 Square»,
Timi[oara (with Ioan Andreescu and Adrian Iona[iu)
1994 IIIrd Prize at the National Contest for Biserica Martirilor (Martyrs’ Church), Timi[oara
(with Adrian Iona[iu and a group of students)
1994 Nomination in the Architecture Biennale, Bucharest – «Gold Tim» Timi[oara Jewelry
Shop (with Ioan Andreescu and Ioan Trif)
1995 Nomination in the contest Biannual «Arhitext Design», for the Sere family house,
Timi[oara
1995 «Mac Constantinescu» Triennial Prize, for the Sere family house, Timi[oara
1996 The prize and the medal of the Bucharest Architecture Biennale – for «Badea Cår]an»
Square (with Ioan Andreescu, Adrian Iona[iu)
1996 Nomination in the Bucharest Architecture Biennale – Perla 2 Hotel (with Ioan Andreescu)
1997 ECCS Steel Design Awards Prize for «Badea Cår]an» Square (with Ioan Andreescu, Adrian
Iona[iu, Victor Gioncu)
1997 Nomination within the «Arhitext Design» Contest – Perla 2 Hotel (with Ioan Andreescu)
1999 National Prize of UNRMI for the project of restoring and rendering operational the
Banloc Mansion Ensemble – (with Ioan Andreescu)
1999 The special prize of Arhitext Design Magazine – Reghina Hotel (with Ioan Andreescu)
2000 Nomination at the Bucharest Architecture Biennale and the Special Prize awarded by
the «Helios» firm for refurbishment works to the Romtelecom commercial and public
relations agency (with Ioan Andreescu)
2001 the «Arhitext Design» Prize – for refurbishment works to Romtelecom Timi[oara
commercial and public relations agency (with Ioan Andreescu)
2002 Nomination at the Bucharest Architecture Biennale for the book Matrices of
traditional space.
2003 «Arhitext Design» Architecture Prize for the Martyrs’ Area dwelling, Timi[oara
2004 Nomination at the Bucharest Architecture Biennale for the Martyrs’ Area dwelling,
Timi[oara
2005 Nomination for interior design, from «Arhitext Design», for refurbishment of the
headquarters of SC Andreescu & Gaivoronschi
2006 Nomination at the Bucharest Architecture Biennale for Savoy Hotel, Timi[oara
2006 Nomination at the category Best architect for 2006 following the sociological research
conducted by CURS, TNS-CSOP, IMAS and INSOMAR, representing the opinion of
Romanian architects for the project «Zece pentru Romånia» (Ten for Romania) at
Realitatea TV
2007 Nomination within the «Arhitext Design» Festival, Sibiu – Savoy Hotel
2007 The Excellence Prize for Architecture at the Annual Architecture Event organized by
the Order of Architects, Timi[ Subsidiary for office, trade, services building – Timi[oara
City Business Centre

Exhibitions:

Participant in Romanian and foreign exhibitions (Bucharest, Cluj, Timi[oara, Salonic, Istanbul, Szeged,
Budapest, Leipzig, Vienna, Venice Biennale)
(Translation: Claudia Rada)
 DANA VAIS

Dincolo de certitudini. Andreescu [i Gaivoronschi.

Beyond Certainties. Andreescu and Gaivoronschi.
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½16¹
Firma Andreescu [i Gaivoronschi este un reper, pe care te
po]i baza atunci cånd vrei s` define[ti ceva categoric
reprezentativ pentru arhitectura romåneasc` de azi sau
pentru un mediu arhitectural local remarcabil – Timi[oara.
Ioan Andreescu [i Vlad Gaivoronschi ocup` de aproape
dou` decenii o pozi]ie de autoritate cert` [i continu` s` nu
o dezmint`.
I. Premise
De[i A&G, ca toate firmele din Romånia, este parte din
lumea nou` de dup` 1989, totu[i Ioan Andreescu [i Vlad
Gaivoronschi apar]in unei genera]ii care [i-a tr`it primul
deceniu productiv în comunism.
Timi[oara postmodern`
Nu au fost deloc ani pierdu]i. La Timi[oara au existat dou`
complexe de împrejur`ri salvatoare pentru mediul
arhitectural local. A existat în primul rånd, în anii ’70, o
via]` artistic` într-adev`r remarcabil` (grupul «Sigma», cu
nume devenite ulterior cult, precum {tefan Bertalan sau
Constantin Flondor), care i-a contaminat pe viitorii
arhitec]i ai acelei genera]ii în formare. Iar în al doilea
rånd, în anii ’80, a fost [ansa adun`rii la un loc printre
arhitec]ii de la IPROTIM – institutul de proiectare de stat –
a cåtorva personalit`]i remarcabile.
Cånd a ie[it în lume în Pavilionul Romåniei de la Bienala
de la Vene]ia din 1996, arhitectura timi[orean` însemna
de fapt mult mai mult decåt cei [ase ani de post-comunism
pe care-i prezenta acea expozi]ie. Ceea ce se vedea acolo
era rezultatul unui mediu profesional foarte con[tient de
sine [i puternic coagulat în jurul acelora[i teme înc` din
anii ’80. Acest mediu profesional avea «dou` extreme
tari» – dup` cum observa atunci Ana Maria Zahariade (1):
echipele lui {erban Sturdza [i Andreescu & Gaivoronschi.
Ultimii doi au f`cut parte din grupul coagulat în IPROTIM
în jurul personalit`]ii primului, care era pe atunci [ef de
proiect al «Centrului Civic Timi[oara» (1985-86). De[i tem`
standard a ora[ului comunist [i mijloc de distrugere în
majoritatea ora[elor în care a fost aplicat, «Centrul Civic»
a devenit în acest grup timi[orean, din contr`, un prilej de
reflec]ie serioas` asupra ora[ului. Sturdza le atr`gea
aten]ia asupra conexiunilor urbane, definirii sc`rii – ceva
deloc de la sine în]eles în Institutele de Proiectare ale
vechiului regim [i, într-un fel, f`r` nici o leg`tur` cu ceea
ce se întåmpla în «lumea real`». În acei ani, cei doi au
înv`]at în ce m`sur` conteaz` datele obiective, de care
trebuie s` ]ii seama în ora[. Referin]a curent` era atunci
pentru ei neo-ra]ionalismul lui Aldo Rossi. A fost [ansa lor
de a tr`i corect Postmodernismul.
Mediul arhitectural timi[orean mai avea îns` o
sensibilitate bine cultivat`, spre importan]a materialului,
[i un model bine ales, Carlo Scarpa. {coala de arhitectur`
din Timi[oara în anii ’70 fusese centrat` explicit pe
materialitate (2). A&G au putut avea a[adar ca repere
fondatoare pe Aldo Rossi fa]` în fa]` cu Carlo Scarpa, altfel
spus, urbanul intelectualizat ra]ional pe de o parte [i
materialul experimentat cu intensitate pe de alta. Într-un
fel, nu s-au desprins de aceste repere fundamentale nici
pån` în ziua de azi.
Tema materialului e îns` poate mai pu]in tare la ei doi
decåt cea urban`. Al]i arhitec]i timi[oreni – Radu
Mih`ilescu, de exemplu, care a avut parte [i de Liceul de
Arte de acolo – i-au întrecut în ceea ce prive[te aceast`
The Andreescu and Gaivoronschi company is a landmark one
can definitely rely on when one wishes to name something
highly representative for the Romanian architecture of our
days or for a remarkable local architectural environment, i.e.
Timi[oara. Ioan Andreescu and Vlad Gaivoronschi have been
occupying a firmly authoritative position for almost two
decades now and are continuing to do so.
I. Premises
Although A&G, like all firms in Romania, is part of the new
world which came into existence after 1989, Ioan Andreescu
and Vlad Gaivoronschi belong nevertheless to a generation
who lived its first productive decade in the communist period.
Post-modern Timi[oara
Those were not wasted years. Two sets of circumstances
helped to rescue the local architectural environment in
Timi[oara. There was first, in the ’70s, a truly remarkable
artistic life (the «Sigma» Group, which promoted personalities
who subsequently became cult names, such as {tefan
Bertalan or Constantin Flondor), who contaminated the
future architects of a generation in its formative years.
Second, in the ’80s, there was the chance to bring together
several remarkable personalities among the architects
working at IPROTIM, the state design institute.
When it stepped out into the world, at Romania’s Pavilion, on
the occasion of the 1996 Venice Biennale, Timi[oara
architecture meant in fact much more than the six years of
post-communism presented at the Biennale. What could be
seen there was the result of a professional, extremely self-
aware climate, consistently focusing on the same themes as
early as the ’80s. Such professional environment evinced two
strong extremes, as Ana Maria Zahariade (1) remarked: on
the one hand, {erban Sturdza’s team, on the other hand, the
Andreescu & Gaivoronschi team. The latter two belonged to
the group reunited at IPROTIM around the first, chief of the
«Timi[oara Civic Centre» project at the time (1985-86).
Although a standard theme of the communist city and an
instrument of destruction in almost every city where it was
implemented, the «Civic Centre» became, within this group
from Timi[oara, on the contrary, an opportunity for
thoughtful meditation on the city. Sturdza was drawing their
attention on the urban connections, on defining the staircase
– matters which were not at all taken for granted in the
Design Institutes of the former regime and which, in a way,
had no connection with what was going on in the «real
world». In those years, the two learned to what extent the
objective data, which one has to take account of in a city,
actualy matter. Their usual reference then was the neo-
rationalism of Aldo Rossi. It was their chance to correctly
experience Postmodernism.
However, the Timi[oara architectural climate boasted
another well-cultivated, material-oriented type of sensibility,
and a well-chosen model, Carlo Scarpa. The school of
architecture in ’70s Timi[oara had been explicitly centered on
materiality (2). A&G had therefore two ultimate heroes to
look up to, i.e. Aldo Rossi confronted with Carlo Scarpa, or, in
other words, intellectual and rationalized urbanism on the
one hand and intensely lived material on the other. In a way,
they have not relinquished either of these fundamental
landmarks to this day.
The theme of the material may be, however, less represented
at the two than, for instance, the urban theme. Other

1981 – Capel` de medita]ie, Tokyo (concurs) / 1981 – A Meditation Chapel, Tokyo (contest)
explorare a materialului, ca forma]ie specific` a [colii din
Timi[oara. Vlad [i Ioan au venit îns` dinspre domeniul
Liceului Real – ei doi au fost crescu]i în rigurozitatea
abstract` tipic` de «profil matematic`-fizic`».
Predominan]a principiului asupra materializ`rii concrete
este cea care îi caracterizeaz` mai degrab` pe ei. De-a
lungul anilor, ei au evoluat mai aproape de modelul Rossi
decåt de modelul Scarpa. Cu timpul, [i-au descoperit [i alte
referin]e afine, precum Auguste Perret sau Adolf Loos.
Modelul lor ideal, în general, este modernitatea care mai
p`streaz` înc` înrudiri genetice cu certitudinile clasicului.
La Bienala de la Vene]ia din 1996, A&G a fost prezentat`
ca o echip` cu o teorie «ra]ional`», «generalizatoare», «ba
chiar doctrinal`», care caut` «esen]ialul» prin forme cåt
mai diverse. (3) Este aproape o descriere a ideii «tipologiei»
lui Rossi. {i exact ca la Rossi sau ca la Loos, toate sistemele
formale sunt înc`rcate de dubl` m`sur`, de dubl` lectur`,
de dubl` realitate, pån` la limita paradoxului. «Spa]iul, ca
[i via]a» – scria Andreescu (4) – «este magic [i, în mod
paradoxal, o strict` disciplin` formal` nu face decåt s`-i
înt`reasc` calitatea non-ra]ional`». A c`uta, paradoxal, s`
treac` dincolo de certitudini prin certitudinea ordinii
înse[i va r`måne pentru A&G metoda prin excelen]`.
«Orice poate fi un subiect»
Anii ’80 au fost îns` pentru Vlad [i Ioan în primul rånd
anii concursurilor. Concursurile au însemnat pentru ei o
via]` profesional` paralel` cu activitatea practic` din
IPROTIM-ul comunist. La unul dintre ele – «A Meditation
Chapel» (5) (Tokyo, 1981) – au luat chiar un premiu doi.
Concursurile le-au demonstrat intuitiv, spun ei, c` exist`
multe dimensiuni ale arhitecturii [i c` orice poate fi un
subiect. Un teatru pentru turnee pornind de la o pictur` de
Chirico, un muzeu imaginar ca muzeu-text, o cas` a
p`pu[ilor pentru a exersa conceptul camufl`rii – toate
astea respirau o libertate creativ` pe care realitatea
profesiunii nu avea cum s` le-o permit`. Prin concursuri
au putut tr`i o via]` dubl`, în dou` lumi paralele. Poate cu
atåt mai mult au prins gustul ideilor în sine, traduse în
Dincolo de certitudini. Andreescu [i Gaivoronschi.
½17¹
architects from Timi[oara, such as Radu Mih`ilescu, who also
attended the local Art Highschool, favored them as far as this
exploration of the material is concerned, as a specific
formation of the Timi[oara school. Vlad and Ioan were,
however, graduates of an exact science highschool; they had
been educated in the spirit of the abstract preciseness typical
for a «mathematics-physics profile». The predominance of
the principle over specific materialization is what
characterizes them in particular. Over the years, they have
evolved rather closer to the Rossi than to the Scarpa model. In
time, they have equally discovered other similar references,
such as Auguste Perret or Adolf Loos. Their ideal model, in
general, is modernity which still preserves some genetic
relations to the certainties of classicism.
At the Venice Biennale in 1996, A&G was presented as a
team with a «rational», «generalizing», even «doctrinal»
theory, searching for the «essential» through forms as
various as possible. (3) It is almost a description of Rossi’s
«typology idea» and, just like in Rossi’s or Loos’ case, all
formal systems are assigned a double measure, a double
reading, a double reality, to the limit of paradox. «Space, like
life» – Andreescu wrote (4) – «is magical and, paradoxically, a
strict formal discpline only strengthens its non-rational
quality». To seek in a paradoxical fashion to go beyond
certainties by means of a certainty of order itself will remain,
for A&G, the method par excellence.
«Anything Can Be a Subject»
Also, the ’80s chiefly meant for Vlad and Ioan years of
contests. The contests amounted to them to a professional
life lived in parallel with the activity carried out in the
communist IPROTIM. At one of such contests – «A Meditation
Chapel» (5) (Tokyo, 1981) – they were even awarded the second
prize. Contests intuitively proved to them, they say, that there
are numerous dimensions of architecture and that anything
can be a subject. A tour theatre, starting from a painting by
Chirico, an imaginary museum conceived like a text-
museum, a doll house to exercise the concept of camouflage-
all these breathed a creative liberty that the reality of the
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½18¹
proiecte conceptuale, cu materializarea cumva mereu
amånat`, secundar`. Nu în ultimul rånd, în pur spirit al
anilor ’80, desenul devenise un mediu predilect. A fost
timpul plan[elor desenate frumos. «Noi am fost o
genera]ie care f`ceam lucrul pe carton» – spune
Gaivoronschi. «Eram formali[ti, desenam în acuarele» (6)...
Proiectul-concept cel mai reprezentativ, poate, pentru
felul în care firma A&G î[i va defini certitudinile este
«Casa Nautilus» (Bucure[ti, 1987). Desenat` pentru un
concurs pe tema «locuirii poetice» (7), casa e într-adev`r o
arhitectur` «poetic`», îns` doar pentru c` utilizeaz`
explicit metafora; altfel, e cu totul altceva decåt propriu-zis
«poezie». E de fapt o enun]are conceptual-teoretic` destul
de explicit` a arhitecturii centrate pe tradi]ie. Nautilus e o
fosil`. Dar e o fosil` vie. Iat` cum era descris atunci
proiectul acelei case: «asocierea tripartit` între <canonul>
clasic, a[a cum l-a definit Harold Bloom (ca valoare
stabil`), tehnologie [i natur`». Este a[adar vorba aici, pe
scurt, de un trinom cultur`-tehnologie-natur`, în care
cultura este categoric în pozi]ie prim`. Aducerea în
formul` a «canonului» în sensul în care îl folose[te teoria
literar`, [i înc` în chiar centrul proiectului, este foarte
relevant` pentru ce fel de certitudine se afirm` aici:
arhitectura se centreaz` pe valoarea stabil` instituit`
de o autoritate care selecteaz` în mod ini]iat.
Dar s` urm`rim mai departe explica]iile proiectului
însu[i: «A rezultat o structur` imaginar` puternic` – o
cas` plutitoare [i scufundabil`. În mijlocul unei insule
tehnologice se afl` un elegant portic clasic; insula se
poate scufunda gradual astfel încåt apa modific`
permanent propor]iile coloanelor, oferind privitorului
spectacolul unei apocalipse domestice controlabile, fizice
[i simbolice în acela[i timp. Marea, tehnologia [i
arhitectura umanist` se unesc într-o puternic` metafor`
a desprinderii de contingent.»
Desprinderea de contingent [i centralitatea esen]ial` a
canonului clasic umanist – iat` ce afirm` ca definitoriu
pentru arhitectur` acest proiect. «Atriul cu portic» este un
centru esen]ial, ceva ce r`måne neschimbat chiar [i în
condi]ii de evident` inadecvare practic` (un portic clasic
nu e un submarin). Aceasta nu e o teorie ra]ional` [i nu e
nici poezie. E un credo.
Este credin]a în arhitectura ca esen]` cultural` umanist`,
în condi]iile tehnologiei considerate ca fiind exclusiv
instrumental` [i a naturii v`zute ca o mare
1988 – Casa Nautilus / Nautilus House
profession could not afford them. By means of such contests,
they were able to live a double life, in two parallel worlds.
This is probably why they grew accustomed to ideas per se,
translated into conceptual projects, the materialization of
which comes always second, is always somehow postponed.
One should also remember that, in the pure spirit of the ’80s,
drawing had become a favored tool. It was the time of
beautifully drawn boards. «We were part of a generation
who worked on cardboard», Gaivoronschi says. «We were
formalists, and did our drawings in aquarelle» (6)...
The most representative project-concept for the manner in
which A&G will define its certainties is probably the «Nautilus
House» (Bucharest, 1987). Drawn for a contest on the theme of
«poetical dwelling» (7), the house truly is an instance of
«poetical architecture», but it is so only because it makes
explicit use of the metaphor; otherwise, it is quite different
from poetry as such. It is in fact a quite explicit, conceptual-
theoretical enunciation of architecture centered on tradition.
Nautilus is a fossil; but it is a living one. The project of the
house was described, at the time, as follows: «the tripartite
association between the classical <canon> as defined by
Harold Bloom (as a stable value), technology and nature».
We are dealing therefore, in short, with a culture-
technology-nature trinominal, in which culture ranks
categorically first. The promotion of the «canon» in the
meaning used by literary theory, and at the very center of
the project, is extremely relevant for the type of certainty
asserted here: architecture is centered on the stable value
established by an authority which selects in a
knowledgeable manner.
But let us examine closer the explanations provided in the
project itself: «A strong imaginary structure resulted – a
floating and sinkable house. In the middle of a
technological island, there appears a classical elegant
portico; the island can gradually sink, so that water
permanently changes the proportions of the columns,
offering to the on-looker the spectacle of a controllable
domestic apocalipse, physical and symbolical at the same
time. The sea, the technology and humanistic architecture
come together in a powerful metaphor of the separation
from the contingent.»
The separation from the contingent and the essential
centrality of the classical humanistic canon – these are the
defining traits of architecture, in the vision of this project. The
«atrium with a portico» is an essential center, something that

înconjur`toare indiferent`. E o lume etern` p`strat`
neschimbat` dincolo de timp, închis`, autoreferen]ial`,
autosuficient`. Mai mult decåt valoare «stabil`», este una
ascuns`, elitist`, ne-natural`, ne-vulgar`. E lumea
amenin]at` a culturii, care trebuie salvat` în enclave
ini]iatice, în chiar mijlocul opera]iilor dezumanizante
ale tehnologiei [i ale naturalului popular al masei.
E superioritatea cultural` care legitimeaz` în fa]a
tehnicului instrumental [i a popularului vulgar.
E adev`rat c` azi, cånd cultura de mas` [i tehnologia au
inundat [i înghi]it totul, o astfel de viziune e cum nu se
poate mai actual`. Într-un fel, aceasta e cheia în care se
poate citi întreaga oper` a firmei Andreescu &
Gaivoronschi.
Temele teoretice
Tocmai pentru c` «orice poate fi un subiect», conteaz` cu
atåt mai mult ce teme anume alegi s` pui în centru. Ioan
Andreescu [i Vlad Gaivoronschi se exprim` teoretic pe
larg în dou` c`r]i: Origini spirituale în arhitectura modern`
[i respectiv Matricile spa]iului tradi]ional (8). De[i diferite
ca stil [i ca subiecte explicite, exist` îns` un acela[i credo
ce leag` subteran aceste c`r]i. Ioan [i Vlad caut` amåndoi
reperul fix, esen]ial, sigur, etern al arhitecturii. Pe dou`
por]i diferite, amåndoi urm`resc accesul spre acela[i miez
fondator ultim, absolut, cert. Amåndoi sunt ferm convin[i
c` acesta exist`.
Cel mai relevant este felul în care ei în]eleg modernitatea.
E un subiect predilect pentru ei, într-adev`r – dar nu
viziunea iluminist`, deschis` [i revolu]ionar` a modernit`]ii,
ci latura ei ascuns`, spiritual` [i mistic`. Nu modernitatea
ca obsesie a c`ut`rii noului [i a creativit`]ii eliberate de
certitudini pre-existente, ci modernitatea ca obsesie a
c`ut`rii originii în adåncimi ira]ionale. Nu modernitatea ca
r`spuns deschis [i proasp`t la contingent, ci modernitatea
ca etern` reîncepere de la esen]ial.
Istoria modernit`]ii ne poate oferi o multitudine de citiri.
Cum orice istorie se reinterpreteaz` prin selec]ie, un
subiect puternic, dac` e bine ales [i condus, le poate
eclipsa pe toate celelalte. În fond, toate istoriile [i teoriile
care ni s-au servit [i ni se servesc asta sunt: teme bine
selectate, relevante, scoase în fa]`, prezentate a[a încåt s`
eclipseze restul [i s` se impun` exclusiv. Ioan [i Vlad aleg
citirea modernit`]ii în numele spiritualului originar [i a
structurilor matriciale. Spiritualul – ori c`utarea unui reper
Dincolo de certitudini. Andreescu [i Gaivoronschi.
½19¹
will remain unchanged even in circumstances of practical
inadequacy (a classical portico is not a submarine). This is not
a rational theory, nor is it a poem. It is a credo.
It is the belief in architecture as a humanistic cultural
essence, whereas technology is considered as exclusively
instrumental, and nature, as an encircling, quite indifferent,
sea. It is an eternal world, unchanged and time-eluding, a
closed, self-referential, self-sufficient world. It is more than a
«stable» value; it is a concealed, elitist, non-natural, non-
vulgar value. It is the threatened world of culture which
must be rescued in esoteric enclaves, placed in the very
midst of dehumanizing technology and of the natural
popular structures favored by the masses. It is that cultural
superiority which gains legitimacy when confronted with
instrumental technology and vulgar popularity.
It is true that nowadays, when mass culture and technology
have flooded and taken over everyting, such a vision is as
topical as one could wish for. In a way, this is the key to the
interpretation of the body of work of Andreescu &
Gaivoronschi.
Theoretical Topics
Precisely because «anything can be a subject», the specific
themes that one chooses to place at the core are extremely
significant. Ioan Andreescu and Vlad Gaivoronschi present
in detail their theoretical foundation in two books: Spiritual
Origins in Modern Architecture and Matrices of Traditional
Space respectively (8). Although different in style and as
explicit subjects, they share nevertheless the same credo, the
subtle link between them. Ioan and Vlad are both looking for
that fixed, essential, certain and eternal landmark of
architecture. Going through two different gates, they both
aim to gain access to the same ultimate, absolute, certain
and founding core. They are both firmly convinced that such
core exists.
The manner in which they understand modernity is the
most relevant. It is a favorite topic with them, indeed. We are
not referring however to the open and revolutionary version
of modernity as contemplated by the Enlightenment, but to
its secret, spiritual, mystic side; not to modernity as an
obsessive pursuit of the new and of creativity liberated from
aprioric certainties, but to modernity as an obsessive search
for the origin in irrational depths; not to modernity as an
open, fresh answer to the contingent, but as an eternal new
start from the essential.
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½20¹
esen]ial sau matricial/arhetipal – e îns` o tem` absolut`,
un subiect pentru care eclipsarea tuturor celorlalte subiecte
e asigurat` aprioric. E un cap`t de drum, f`r` ie[iri spre mai
departe. E prin defini]ie certitudine ultim`. E fie de o ne-
modernitate categoric`, fie modernitatea absolut` –
depinde de unde prive[ti.
Pornind de la aceste fundamente comune, cei doi cred de
fapt, fiecare, în tipuri foarte particulare de modernitate.
Andreescu crede în prima modernitate, cea arhetipal` a
Rena[terii: nu caut` ra]iunea, ci mistica ra]iunii, nu
ordinea, ci ordonan]a divin`. Gaivoronschi crede în
modernitatea umanizat` prin fenomenologie [i
capacitatea întoarcerii prin gest concret la arhetip [i
esen]ial.
Cert este c` nici unul nu crede în avangard` ca principiu –
în noul pentru valoarea lui în sine de nou.
Noutate, avangard`? Mda... – spune Andreescu – dar ca
pentru un medic, care se ]ine la curent cu ultimele
cerecet`ri, îns` scopul e în definitiv dintotdeauna acela[i,
s` vindece...
Noul e a[adar cumva pur instrumental. De aceea trebuie
]inut la locul lui, închis în dialectica tradi]iei.
C`ci cea mai important` certitudine a firmei A&G e
tradi]ia. Totul st` în tradi]ie. Îns` e foarte important cum
define[ti tradi]ia. De cåte ori pot, ei neag` pasti[a, neag`
mumificarea, neag` dogma, neag` intelectualismul –
neag`, evident, toate caricaturile posibile ale acestei
certitudini.
Tradi]ia trebuie considerat` ca «prezen]`», cred ei (adic` [i
actualitate, [i imanen]` a divinului în lucruri). Tradi]ia e
«un sistem de tehnici prins într-un sistem de credin]`».
Principala referin]` care e adus` în discu]ie apar]ine
modernit`]ii catolice: Romano Guardini. Tradi]ia, spunea
acesta, presupune credin]`, iar credin]a e ritual. Dincolo de
ritual nici o societate nu este posibil`. Tradi]ia este ritual
tr`it, este pattern; nu ca doctrin`, ca atitudine. Cel mai
avansat sistem de gåndire – spune Andreescu – este
gnoza, totul e explicat prin gnoz`, iar din gnoz` nu se
poate ie[i... Numai cu gnoza po]i s` ajungi la calitate.
Percep]ia spiritual` asupra lumii înseamn` s` vezi în
manifestarea realului o oarecare densitate; c`ci cu cåt
aprofundezi materia, dai de spirit – mai spune Andreescu.
Nu po]i lucra materia f`r` «prezen]`» – uite, Koolhaas
n-are detaliu, numai conceptul conteaz` la el, pentru c` el
e ateu, în timp ce Scarpa e catolic [i respect` materialul...
Origini [i matrici, spiritual [i tradi]ie – aceste subiecte
r`mån în fond teme foarte conservatoare. Dac`
arhitectura romåneasc` mainstream este [i azi mai ales
a[a – conservatoare –, asta se datoreaz` [i faptului c`
arhitec]ii cu autoritate real`, precum Andreescu [i
Gaivoronschi, au fundat-o temeinic pornind de la o idee de
ordine bazat` mai degrab` pe origini [i tradi]ie decåt pe
nou [i avangard`, pe esen]ial [i pattern mai degrab` decåt
1989 – Tokyo Forum, Tokyo
The history of modernity can provide us with a multitude of
readings. Since any history may be reinterpreted by selection,
a solid theme, if appropriately chosen and managed, can
thoroughly obscure all the others. After all, this is what all
histories and theories that we were and are becoming
acquainted with actually amount to: well-chosen, relevant
themes, brought to the foreground and presented so as to
outshine the rest and gain utter supremacy. Ioan and Vlad
choose that reading of modernity as search of primary
spirituality and matriceal structures. The spiritual – or the
search for an essential or matriceal/archetipal landmark is,
however, an absolute theme, a topic guaranteeing in
advance to outshine all the rest. It is the end of the road, a
dead end. It is by definition the ultimate certainty. It is either
categorically non-modern or absolutely modern – it depends
on the perspective.
Starting from these common foundations, the two basically
believe in very particular types of modernity. Andreescu
believes in the primary modernity, the archetipal modernity
of the Renaissance: he does not look for reason, but for the
mystique of reason, not for order, but for divine ordinance.
Gaivoronschi believes in modernity humanized by
phenomenology and in the capacity to return, through the
concrete gesture, to archetypes and to the essential.
What is certain is that neither of them believes in the avant-
garde as a principle – in the new for its intrinsic value as new.
New things, avant-garde? Well yes... – Andreescu says – but
new things from the standpoint of a physician, who keeps up
to date with the latest research, but whose final goal is
always the same, to heal...
The new is therefore purely instrumental. For this reason, it
has to be kept in its place, closed in the dialectics of tradition.
Tradition, then, is the most important certainty of A&G.
Everything boils down to tradition. However, the definition of
tradition is extremely important. Whenever they can, they
fight the pastiche, fight mummification, dogma,
intellectualism – they fight, clearly, all possible caricatures of
this certainty.
Tradition should be considered as «presence», they think
(both topical reality and the immanent divine are present in
things). Tradition is a system of techniques caught in a
system of faith. The main reference which is brought in
discussion belongs to catholic modernity: Romano Guardini.
Tradition, according to him, presupposes faith, and faith is a
ritual. Beyond ritual, no society is possible. Tradition is a lived
ritual, a pattern; not as doctrine, but as attitude. The most
advanced system of thinking, Andreescu says, is gnosis;
everything is explained by gnosis, and there is no escaping
it… It is only by gnosis that one can reach quality. Spiritual
perception of the world means that one can discern in the
manifestation of reality a certain density; because the more
thoroughly one researches matter, the more certain one will
be of encountering spirit, Andreescu also says. One cannot

pe contingent [i diferen]ial. Îns` o astfel de viziune se
bazeaz`, în cazul lor, pe o atitudine absolut necesar` în
mediul romånesc – modestia calit`]ii. Credo-ul firmei
A&G este arhitectura ca profesie de elit`, într-adev`r, nu
ca domeniu de imagine [i auto-promovare. «Menirea
arhitectului e s` nu fie actor», spunea Gaivoronschi;
«arhitectura e totu[i o profesie nobil`, care nu trebuie s`
strige din toate puterile» (9).
În fine: în mijlocul intelectualiz`rilor celor mai sofisticate
apare cumva [i intui]ia c` exist` c`i pe care ordinea
teoretic` nu te poate conduce. Talentul se ghideaz` în
definitiv singur, nu-i trebuie nici o certitudine exterioar`.
Exerci]iile intelectuale ar putea fi tolerate, recunoa[te
Andreescu, numai dac` efectul lor e pur` pl`cere dincolo
de intelect; îns` atunci cånd aprofundezi anumite lucruri,
a[a încåt ajungi la acea pl`cere personal`, din momentul
acela «nu le mai po]i transmite».
II. Ordinea în proiect
Înfiin]at` în 1990, A&G e o marc` timi[orean`. Aproape
toate lucr`rile firmei sunt în Timi[oara sau în apropiere
(de[i mai recent au proiecte [i pentru Bucure[ti, Sibiu sau
Gala]i, iar în ceea ce prive[te concursurile nu [i-au pus
niciodat` limite geografice). Firma nu e mare – ei doi plus
vreo 8 angaja]i, to]i tineri. Cele în jur de 65 de proiecte
realizate [i peste 100 în total sunt foarte diverse [i reflect`
nu numai evolu]ia lor în timp, mereu lega]i de timp, ci [i
multitudinea de experimente [i c`ut`ri diverse – chiar
dac` aceast` diversitate experimental` [i prospe]ime
conjunctural`, aceast` ne-desprindere de contingent, n-a
pus niciodat` sub semnul întreb`rii certitudinile lor
teoretice fundamentale.
Firma
Chiar dac` din 2000 încoace s-au separat în
responsabilitata proiectelor [i le coordoneaz` acum
distinct, anul 2000 nu poate fi v`zut în nici un caz ca o
ruptur`. Ioan Andreescu [i Vlad Gaivoronschi r`mån o
entitate coerent`, r`mån o «firm`». Cei doi au sens doar
împreun`. Au încetat de fapt demult s` se produc`
individual.
Începuturile lor personale [i mediul fertil timi[orean –
originile [i tradi]ia într-adev`r – explic` aceast` fuziune.
Cei doi sunt prieteni înc` din liceu. S-au format deodat`,
s-au modelat reciproc (acas` la Timi[oara, apoi în timpul
studen]iei de la Bucure[ti [i, în fine, înapoi la Timi[oara,
lucrånd al`turi ca arhitec]i, într-un deceniu de comunism
[i înc` dou` de timpuri noi) mereu împreun`. Patruzeci de
ani: o via]` de om.
Asta nu înseamn` c` nu au r`mas dou` personalit`]i
puternice, fiecare în parte. Dar au deprins s` se echilibreze,
s` se completeze, s` se suporte, s` se respecte [i s` se
sus]in` reciproc, chiar [i în diferen]ele lor majore.
Dincolo de certitudini. Andreescu [i Gaivoronschi.
½21¹
work with matter without «presence» – see Koolhaas, for
instance, who does not value detail; it is only concept that
matters to him, because he is an atheist, whereas Scarpa is a
devout catholic and respects the material...
Origins and matrices, spiritual and tradition – these topics
remain, at their core, extremely conservative themes. If
mainstream Romanian architecture remains like that even
today – namely, conservative – this is due also to the fact that
architects with real authority, such as Andreescu and
Gaivoronschi, have laid solid foundations for it, starting from
an idea of order based on origins and tradition rather than
on the new and the avant-garde, on the essential and the
pattern rather than on contingent and differential.
However, such a vision relies, in their case, on an attitude
which is absolutely necessary in the Romanian environment
– the modesty of quality. The credo of A&G is architecture as
an elite profession, indeed, and not as an area of expertise
dedicated to image and self-promotion. «The mission of the
architect is not to be an actor», Gaivoronschi said;
«architecture is a noble profession, nevertheless, which need
not cry out loud» (9).
To conclude: beyond the most sophisticated intellectual
reasonings, there emerges somehow the intuition that there
are routes along which theory cannot lead one. After all,
talent guides itself; it does not need any exterior certainty.
However, intellectual exercises may be tolerated, Andreescu
admits, only if their effect is pure delight beyond the intellect;
but when one inquires too profoundly into certain things,
reaching that state of personal delight in them, from that
time on one «can no longer express them».
II. The order in the project
Established in 1990, A&G is a Timi[oara brand. Almost all of
the company’s works are in Timi[oara or nearby (although
they have recently completed several projects in Bucharest,
Sibiu or Gala]i, and, as regards contests, they have always
ignored any geographical boundaries). The company is not a
large one – the two of them, plus some other 8 employees, all
of them young. The approximately 65 projects achieved,
totaling over 100, are very diverse and reflect not only their
evolution over time, always connected to time as they are,
but also the multitude of experiments and various quests –
even if this experimental diversity and freshness of
circumstances, this non-detachment from the contingent,
has never shaken their fundamental theoretical certainties.
The Company
Even if they shared responsibility for the projects in 2000 and
have coordinated them separately since then, the year 2000
cannot be seen in any case as a rupture. Ioan Andreescu and
Vlad Gaivoronschi remain a specific entity, a «firm». The two
make sense only together. In fact, they ceased long ago to
achieve projects individually.
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½22¹
Cei doi sunt într-adev`r destul de diferi]i. De[i amåndoi se
exprim` consistent atåt în text, cåt [i în arhitectur`, se
poate totu[i vedea cu ochiul liber c` parc` Andreescu e
ceva mai tare în plan discursiv, iar Gaivoronschi ceva mai
tare în plan concret-construit. Ioan argumenteaz` mai
mult, Vlad intuie[te cu talent. Prima tenta]ie ar fi de a
concluziona, cam facil ce-i drept, c` sunt un tandem tipic,
aproape previzibil: unul e mai mult cu teoria [i cel`lalt
mai mult cu practica. Dar ar fi o percep]ie în[el`toare.
Oricåt de clar conturate ar fi personalit`]ile lor individuale
[i oricåt de mult ar vrea poate chiar ei în[i[i, nu se poate
trage, dar chiar deloc, o linie clar` între contamin`rile lor
reciproce, între contribu]iile lor decupate distinct. În ciuda
aparen]elor – temperament, proiecte, scrieri diferite – ei
sunt fundamental afini [i, chiar sub semn`tura izolat`,
cel`lalt e de fiecare dat` cumva [i el acolo.
Nu în ultimul rånd, trebuie men]ionat` deprinderea lor de
a colabora. Adrian Iona[iu, Ioan Trif, Mircea Morovan,
Marius Micl`u[, Beatrice Lucaci, Georgeta Tråmbi]a[, Sorin
Ciurariu, Iacob Bolbo[, Cristian Nicolae, Alfons Hudescu,
Marius Nicorici, Carmen Calance, Sebastian Schön, Victor
Gioncu, Ciprian Branda, Gabriela B`rbu]`, Mircea Cri[an,
Rodica Gaivoronschi, Ramona Nicolaescu, Francisc König,
Marius Hår]a, Plamen Stanchev, Oana Sårbu, Drago[
Bocan, C`t`lina Bocan, Costin {elariu, Maja Baldea,
Bråndu[a Havasi, Claudiu Toma, Attila Wenczel, Katalin
Szabo, Dan Damian, Alex. M`l`escu, Iulia Fr`]il`, Michael
Wiczorek, Dan Idiceanu, Ovidiu Micsa, Ligia Stafie, Bencze
Csongor, Dan Munteanu – lista de colaboratori ai firmei e
consistent`.
Dar exist` în special dou` nume care au fost [i sunt
importante pentru ei: Adrian Iona[iu [i Dan Munteanu.
Adrian Iona[iu – care apar]ine aceleia[i genera]ii ca ei doi
– le-a fost asociat; a colaborat la multe proiecte ale firmei
în anii ’90 [i a r`mas «un bun sf`tuitor» – cum spun ei.
Dan Munteanu este un tån`r din noua genera]ie produs`
de [coala din Timi[oara, care le-a fost student [i care
lucreaz` deja de mul]i ani în firm`, cu contribu]ii
consistente la majoritatea proiectelor mai recente.
II.1. Canon [i teorie
Ordinea clasic`
Credo-ul în ordinea clasic` este prima certitudine. Pe
pere]ii biroului A&G el este afirmat explicit: proiecte de
Andrea Palladio, frumos expuse, (îi) afirm` prezen]a.
Traseele regulatoare [i conceptul de villa – iat` datele
fundamentale [i sofisticate ale unui canon arhitectural,
certitudinea «valorii stabile».
Foarte multe lucr`ri se bazeaz` explicit pe ordinea
traseelor regulatoare. Studiul pentru Pia]a Sf. Gheorghe,
Vila Jumanca, Hotelul Reghina Blue, sediul CFR Marf` sunt
1989 – Tokyo Forum, Tokyo
Their personal beginnings and the fertile environment
existing in Timi[oara – the origins and the tradition indeed –
explain this fusion. The two have been friends since
highschool. They trained together, they modeled each other
(at home in Timi[oara, then during their student years, in
Bucharest, and finally, back in Timi[oara, working together as
architects, in a decade of communism and other two decades
during the new times) always together. Forty years: a lifetime.
This does not mean that they have not remained two distinct,
very strong personalities. But they learnt to balance, to
complete each other, to bear with each other, to respect and
support each other, even when it came to major divergences.
The two are indeed quite different. Although both express
themselves in a fairly consistent manner, both in text and in
architecture, one can easily see that Andreescu appears to be
stronger in the field of discourse, whereas Gaivoronschi’s
strong point seems to be the specific-built environment. Ioan
reasons more, Vlad excels in brilliant intuition. The first
temptation would be to conclude, rather too quickly, it’s true,
that they are a typical, almost predictable, tandem: one more
skilled in theory, the other, in practice. However, that would
be a misleading perception. However clear their individual
personalities may be outlined and however much they might
wish it themselves, no definite line may be drawn between
their mutual contaminations, their distinct contributions.
Despite the appearances – different tempers, different
projects, and different writings – they are fundamentally
related and even when either affixes his individual signature,
the other is somehow also present there.
Last but not least, we should mention their habit of
collaborating. Adrian Iona[iu, Ioan Trif, Mircea Morovan,
Marius Micl`u[, Beatrice Lucaci, Georgeta Tråmbi]a[, Sorin
Ciurariu, Iacob Bolbo[, Cristian Nicolae, Alfons Hudescu,
Marius Nicorici, Carmen Calance, Sebastian Schön, Victor
Gioncu, Ciprian Branda, Gabriela B`rbu]`, Mircea Cri[an,
Rodica Gaivoronschi, Ramona Nicolaescu, Francisc König,
Marius Hår]a, Plamen Stanchev, Oana Sårbu, Drago[ Bocan,
C`t`lina Bocan, Costin {elariu, Maja Baldea, Bråndu[a
Havasi, Claudiu Toma, Attila Wenczel, Katalin Szabo, Dan
Damian, Alex. M`l`escu, Iulia Fr`]il`, Michael Wiczorek, Dan
Idiceanu, Ovidiu Mic[a, Ligia Stafie, Bencze Csongor, Dan
Munteanu – the firm’s list of collaborators is quite long.
There are two names in particular who are and have been
important to them: Adrian Iona[iu and Dan Munteanu.
Adrian Iona[iu, who equally belongs to their generation,
was their associate; he participated in various projects of
the company in the 1990s and has remained a «good
advisor», as they say. Dan Munteanu is a young man from
the new generation, produced by the Timi[oara school, who
was their student and who has already been working with
the company for many years, having significant
contributions in the company’s most recent projects.
1986 – O casa pentru ast`zi / 1986 – A house for today

expresii ale unui astfel de sistem de ordine înainte de a fi
orice altceva.
Traseele regulatoare sunt pentru A&G o «garan]ie de
civiliza]ie»: «arhitectura trebuie s` devin` o form` de
civiliza]ie», spune Andreescu, [i de aceea trebuie s` alegi o
paradigm` de ordine. (S` alegi, nu s` inventezi; adic` s`
descoperi, s` cuno[ti, s` în]elegi, s` accep]i, s` adop]i o
ordine preexistent`.) Omul trebuie s` g`seasc` aceast`
ordine preexistent`, nu e chemat s-o fic]ioneze. Este
important s` fim con[tien]i c` noi, oamenii, suntem
structuri fundamental ritmice – mai spune el.
Sistemul de trasee regulatoare, afirm` Andreescu, este
singurul sistem de ordine care merit` aprofundat, dar
aceste sisteme sunt de fapt foarte multe, sunt infinite,
ceea ce se face în [coli e ceva foarte rudimentar. E
adev`rat, traseele regulatoare nu se potrivesc deloc la
arhitectura de tip landscape, care e acum a[a de actual`,
dar nici paradigma topografiei de tip landscape
architecture nu func]ioneaz` decåt de la o anumit` scar`
în sus, deci cånd pierde oricum scara uman`.
Pe scurt, conchide Andreescu, traseele regulatoare sunt ca
furculi]a [i cu]itul: nu sunt scopul måncatului, dar numai
cu ele po]i månca civilizat.
«Villa» este o alt` paradigm` de civiliza]ie pe care o iau ca
referin]`. Vilele palladiene nu erau spa]ii de domesticitate.
Nici casele Popa sau Jumanca nu sunt. Sunt obiecte [i
spa]ii tari, monumentale. Vilele lui Palladio nu erau f`cute
s` fie locuite, ci s` ordoneze teritoriul, s` centreze
Universul. Villa – a[a cum a fost ea definit` de Rena[tere –
este un centru cosmologic explicit. Vilele palladiene au
spa]ii interioare mari, de parad`, pur spectacol (doar c` la
Palladio sc`rile nu ar fi putut niciodat` s` umple aceste
spa]ii, a[a cum o fac la Vila Jumanca, sau chiar – mutatis
mutandis – la sediul CFR Marf`; la Palladio, sc`rile nu
ocup`, nu consum`, nu umplu niciodat` acest spa]iu
central esen]ial). Vilele palladiene nu sunt în primul rånd
locuin]e, ci spa]ii în care via]a e complet dominat` de
principiul compozi]iei, care face vizibil` ordinea divin`.
(Sunt case crucificate.)
Este certitudinea preluat` de exemplu la Vila Jumanca
(1998-2002) (o cas` aproape în sens literal crucificat` –
chiar dac` în numele unei compozi]ii suprematiste de
Malevich). Cum spune Andreescu, «casa opereaz` dup` un
principiu canonic îndelung verificat de istorie: un cadru
suficient de generos din punct de vedere spa]ial [i de
inteligibil în sens ra]ional-umanist poate suporta altera]ii
[i varia]ii ale stilului de via]` de-a lungul timpului f`r`
a-[i pierde caracteristicile.» (10) Cu alte cuvinte, casa
pre-exist` [i post-exist` stilului de via]` al locuirii din ea
[i oric`rui context interior sau exterior. Asta înseamn`
«arhitectur` puternic`»: «Arhitectura puternic`, fie
umanist` [i/sau suprematist`, împreun` cu gestiunea
1986 – O casa pentru ast`zi / 1986 – A house for today
Dincolo de certitudini. Andreescu [i Gaivoronschi.
½23¹
II.1. Canon and Theory
Classical Order
The credo in the classical order is the first certainty. On the
walls of the A&G office, it is explicitly asserted: projects by
Andrea Palladio, beautifully exhibited, signal its presence.
The regulating paths and the concept of villa – these are the
fundamental and sophisticated basics of an architectural
canon, the certainty of the «stable value».
Numerous works rely explicitly on the order of such
regulating paths. The study for St. Gheorghe Square, Jumanca
Villa, Reghina Blue Hotel, the headquarters of CFR Marf` are
expressions of such a system of order before they are
anything else.
Regulating paths are, for A&G, a «guarantee of civilization»:
«architecture should become a form of civilization»,
Andreescu says, and therefore one has to choose a paradigm
of order (to choose it, not to invent it; that is to discover, to
know, to understand, to accept, to adopt a prior order). Man
has to find this prior order; he is not called upon to create it
out of fiction. It is important to be aware that we, people, are
fundamentally rhythmical structures, he adds.
The system of regulating paths, according to Andreescu, is
the only system of order which deserves to be studied
thoroughly, but there is actually a multitude of such systems,
they are infinite in number, what is taught in schools
remains in a rudimentary stage. It is true, regulating paths
are not at all fit for landscape architecture, so much in vogue
now, nor is the paradigm of a landscape architecture
topography able to operate but from a certain scale upward,
therefore when it loses trace of human scale anyway.
In short, Andreescu concludes, regulating paths are like the
fork and knife: they are not the purpose of eating, but it is
only with their help that one can eat in a civilized manner.
The «villa» is another paradigm of civilization that they take
as a landmark. Palladian villas were not domestic spaces, and
nor are the Popa or Jumanca houses. They are strong,
monumental objects and spaces. Palladio’s villas were not
made to be inhabited, but to arrange a territory, to align the
Univers. The villa, as defined by Renaissance, is an explicit
cosmological center. Palladian villas have large indoor
spaces, for parade, for pure show (it is though to be
mentioned that with Palladio the staircases could have never
filled such spaces, as they do at the Jumanca Villa, or even –
mutatis mutandis – at the headquarters of CFR Marf`; at
Palladio, the staircases never occupy, never consume, never
fill this essential central space). The primary role of Palladian
villas is not that of dwellings, but of spaces where life is
imbued with the principle of composition, which make visible
divine order, (They are crucified houses).
It is this certainty which has been employed, for instance, in
the case of the Jumanca Villa (1998-2002) (a house almost
1992 – Centru Civic Nara (concurs) / 1992 – Nara Civic Hall (contest)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½24¹
metaforic` a naturii, sunt valori autonome [i vehicule ale
separ`rii de context.» (11) Ce-i drept, la Vila Jumanca,
teoria e justificat` de contingen]`: contextul imediat
(blocuri comuniste în vecin`tate stringent`) e într-adev`r
imposibil de rela]ionat.
Dar aceast` teorie a arhitecturii tari [i autosuficiente
(atriul cu portic clasic scufundat ca un submarin) conduce,
în mod paradoxal, la cea mai interesant` concluzie
posibil`: arhitectura «puternic`» poate tot a[a de bine [i
lipsi cu totul, cum observ` Andreescu. Prezen]a ei
material` nu conteaz`. Vilele renascentiste italiene sunt
de fapt mult mai mult decåt numai ni[te obiecte de
arhitectur`, sunt un sistem de ordine înscris puternic în
teritoriu. Simbolistica concret` a vilei era un program al
discursului teritoriului însu[i – discurs umanist al unei
genealogii mitologice. Cånd lipse[te casa, explic`
Andreescu, a[a cum se întåmpl` în unele cazuri unde ea
chiar a disp`rut cu timpul, î]i dai seama c` ea era de fapt
lucrul cel mai pu]in important dintre lucrurile din acel
peisaj. Chiar [i numele de «villa» poate r`måne în
continuare ata[at domeniului respectiv, cu vila absent`.
Este unul din paradoxurile vilei clasice, acela de a avea a[a
o «capacitate de a fuziona intim cu propriul s`u teren»
(12), încåt la limit` s` poat` disp`rea...
II.2. Tehnologie [i modernitate
Ordinea modern`
Ordinea modern` se poate g`si în lucr`rile firmei A&G în
recuperarea mo[tenirii modernismului interbelic [i, mai
pu]in, în tenta]ia actualit`]ii tehnologice. Nici una din
aceste teme – limbajul modernist [i tehnologia – nu este
îns` o tem` prioritar` pentru ei (exist` arhitec]i romåni
azi care se opresc mai mult asupra lor), ci mai degrab` ele
sunt parte a diversit`]ii lor de interes, teme pe care le-au
atins în anumite proiecte. Dar de cåte ori au f`cut-o, le-au
asumat pån` la cap`t.
Modernismul interbelic – marea obsesie a «canonului»
romånesc – este parte a tradi]iei reconsiderate [i în mediul
arhitectural timi[orean. De[i neo-modernismul nu are
deloc aceea[i intensitate ca la Bucure[ti, el este prezent
totu[i ca not` de fond [i aici, la Timi[oara, în special în
obsesia specific local` pentru «De Stijl». Între lucr`rile
firmei A&G, cele mai atinse de estetica «De Stijl» sunt
poate Casa Popa [i unele amenaj`ri interioare, ca Star
Telefonica. Casa Cioc [i, par]ial, Casele Bistriceanu [i
Duda[ sunt case îmbr`cate în limbaj neo-modernist în
spiritul mai general al modernismului cubist abstract al
anilor ’30. Casa Cioc este chiar de un manierism
1992 – Nara Civic Hall
literally crucified – even if it is so in the name of a
supremacist composition by Malevich). As Andreescu says,
«the house operates according to a canonic principle long
verified by history: a framework which is sufficiently
generous in terms of space and intelligible from a rational-
humanistic standpoint can bear alterations of lifestyle over
time without losing its characteristics.» (10) In other words,
the house precedes and survives any habitation lifestyle and
any exterior or interior context. This is «strong architecture»:
«Strong architecture, whether humanistic and/or
supremacist, and the metaphorical use of nature are
autonomous values and tools for the separation from
context.» (11) It is true that in the case of the Jumanca Villa,
theory is justified by the surrounding environment: the
immediate context (communist blocks of flats in contiguous
vicinity) renders any connection impossible.
However, this theory of strong and self-sufficient architecture
(with an atrium with classical portico, sunk like a submarine)
leads, paradoxically, to the most interesting conclusion
possible: «strong» architecture may just as well be non-
existent, as Andreescu notices. Its physical presence does not
matter. Italian Renaissance villas are in fact more than mere
architectural objects; they are a system of order powerfully
inscribed in that territory. The specific symbolism of the villa
was a program of the discourse of the territory itself, the
humanistic discourse of a mythological genealogy. When the
house is missing, Andreescu explains, as it happens in some
cases where it actually disappeared in time, one realizes that it
was actually the least important of the things in that
landscape. The name of «villa» can remain attached to that
location notwithstanding the absence of the construction itself.
It is one of the paradoxes of a classical villa, that of being able
to have «such a capacity of intimately merging with its own
land» (12), to the point of actually fading away in it...
II.2. Technology and Modernity
The Modern Order
Modern order may be traced in the works of A&G in their
effort of recovering the legacy of inter-war modernism and, to
a less extent, in the temptation of current technological
achievements. Neither of such themes, however – modernist
language and technology – is a priority for them (there are
Romanian architects nowadays who dwell more on them), but
rather, they are part of their various interests and themes that
they have adopted during various projects. However, whenever
they did it, they assumed it until its last consequences.
Inter-war modernism – the great obsession of Romanian
«canon» – is also part of reconsidered tradition in Timi[oara’s
1985-1986 – Centru civic, Timi[oara (concurs) /
1985-1986 – Civic Center Timi[oara (contest)

streamlined de anii ’30 foarte explicit; într-o anumit`
m`sur`, proiectul pentru Facultatea Mihai Eminescu de
asemenea.
Dar poate cea mai interesant` lucrare pe tema recuper`rii
mo[tenirii moderniste este una care o face în sens propriu:
Hotelul Savoy (2000-05). Hotelul recupereaz` [i
restaureaz` o vil` de anii ’30, pe care o extinde apoi în
adåncimea parcelei cu un corp distinct, de limbaj în tent`
neo-ra]ionalist`. Între corpul vechi [i corpul nou apare un
spa]iu-atrium de metal [i sticl`, cu expresie voit
tehnologic`, care face articulat trecerea de la
modernitatea-tradi]ie la modernitatea-actualitate. Nici
una din cele trei p`r]i nu are îns` vreo sugestie de
avangard` – nici modernismul anilor ’30 al corpului vechi
(la care a fost subliniat`, prin p`strarea unor elemente
existente [i prin decora]ia ulterioar`, mai degrab` nota
Art Deco), nici ra]ionalismul cumva neutru [i contextual
al corpului nou, nici m`car tehnologia moderat` expus`
explicit în atriul-ser`. Totul este de un echilibru
confortabil [i pragmatic.
Galeria 1 (2001-05) [i Sediul CFR Marf` (2000-08) sunt
varia]iuni pe tema modernit`]ii contemporane generice,
pentru c` sunt mai explicit comerciale [i pragmatice –
amåndou` cutii (una de comer], celalat` de birouri),
amåndou` recondi]ion`ri ale unor hale de anii ’60, (prima
fost` hal` de mezeluri Comtim Carnex, a doua fost`
cantin` a Fabricii Electromotor), amåndou` învelite în
materiale ce subliniaz` cumva artificialitatea nout`]ii
(prima sticl` [i placaj de lemn plastifiat, a doua sticl`,
policarbonat [i schel`rie de metal).
Galeria 1, ca orice «hangar decorat», poart` mesaje scrise
(din care cel mai interesant nu e numele explicit [i prea
evident de pe fa]ada principal` înclinat`, ci mesajul
abscons [i ireveren]ios – sic! – al codului de bare alb-
albastru de pe fa]ada lateral`). O serie de rafinamente în
detalii, de care beneficiarul n-a [tiut s` se foloseasc`, pe
care nu le-a în]eles [i de care n-a avut nevoie au constituit
aici un fel de risip` sacrificial` pe altarul sacrului
comercial; în final, a fost o supralicitare a unui efort de
design, pentru o hal` folosit` ca un simplu bazar.
Sediul CFR Marf` este o cutie propor]ionat` subtil în
ordonan]a clasic` a traseelor regulatoare. Ea are în plus, ca
tem` major` [i ultra-actual`, o preocupare pentru tehnici
de control fizic ambiental: interiorul dezvolt` un hol
central cu ventilare natural` foarte studiat`, în care scara
principal` (de metal [i sticl`, pentru a-[i atenua cumva
prezen]a prea material`) plute[te peste un bazin cu ap`, în
inten]ia cre`rii unui spa]iu cu microclimat controlat. Pe
fa]ada principal`, într-un fragment bine delimitat ca
1985-1986 – Centru civic, Timi[oara / 1985-1986 – Civic Center Timi[oara
Dincolo de certitudini. Andreescu [i Gaivoronschi.
½25¹
architectural environment. Although neo-modernism does
not have the same intensity as in Bucharest, it is nevertheless
present in the background in Timi[oara, as well, especially in
the specifically local obsession with «De Stijl». Among the
works of A&G, those that are most influenced by «De Stijl»
aesthetics are probably the Popa House and several interior
arrangemet works, like Star Telefonica. The Cioc House and
partially the Bistriceanu and Duda[ Houses are neo-
modernist houses in the more general spirit of ’30s cubist
abstract modernism. The Cioc House actually evinces a
streamlined mannerism going back to the ’30s, and very
explicit for that matter; to a certain extent, the project for the
Mihai Eminescu Faculty evinces the same features.
However, probably the most interesting work on the theme of
the recovery of modernist heritage is one that strives to
achieve such recovery literally: the Savoy Hotel (2000-05). The
hotel recovers and restors a villa dating from the 1930s, which
it subsequently expands along the depth of the plot by a
distinct, neo-rationalist building. A space-atrium made of
metal and glass, conspicuously technological, which makes an
articulate transition from modernity-tradition to modernity-
current reality has appeared between the old building and the
new one. None of the three parts, however, is suggestive of
avant-garde – neither the ’30s modernism of the old building
(where the Art Deco has rather been emphasized by preserving
existing elements and adding other decorations), nor the
somehow neutral and contextual rationalism of the new one,
nor even the moderate technology explicitly displayed in the
atrium-greenhouse. Everything demonstrates a comfortable
and pragmatic balance.
Gallery 1 (2001-05) and the headquarters of CFR Marf` (2000-
08) are variations on the theme of generic contemporary
modernity, because they are more explicitly commercial and
pragmatic – both of them, box-like structures (one for trade,
the other, for offices), both, restorations of large industrial
spaces dating from the ’60s (the former was the Comtim
Carnex meat products hall, the latter was the cafeteria of the
Electromotor factory), both covered in materials which
somehow emphasize the artificiality of the new (the former
in glass and plastified plywood, the latter, in policarbonates
and metal frame).
Gallery 1, like any «decorated hangar», has its own inscribed
messages (the most interesting of which is not the explicit and
too conspicuous name catching one’s eye from the main
sloping façade, but the more obscure and irreverent – sic! –
message conveyed by the white and blue bar code on the
lateral façade). Several refined details, which the beneficiary
did not know how to use, which he did not understand and
did not need, have represented some sort of sacrificial waste
1985-1986 – Centru civic, Timi[oara (concurs) /1985-1986 – Civic Center Timi[oara
2007 – Hotel Victoria, Sibiu / 2007 – Victoria Hotel, Sibiu
Martirilor District
propor]ie, expus cumva demonstrativ, este prezentat un
mod ecologic de a utiliza cortina de sticl` pentru fa]adele
cl`dirilor de birouri – în dublu strat, permi]ånd circula]ia
aerului [i brise-soleil-uri. Astfel de sisteme de fa]ade de
sticl` dubl` vor fi dezvoltate, înc` [i mai amplu [i coerent,
la City Business Center.
Modernitatea ca înscriere în actualitate este a[adar
prezent` în preocup`rile mai recente ale firmei, prin
aceste tehnici ecologice [i de «dezvoltare durabil`», poate
conven]ionale [i «corecte», îns` adoptate natural [i f`r`
exhibi]ionism. Acestea aduc implicit tehnologia într-o
pozi]ie mai important` în ultimele lor lucr`ri. Atitudinea
lor fa]` de tehnologie, în general, respect` îns` consecvent
conceptul enun]at înc` din Casa Nautilus – tehnologia e
parte pur instrumental` a arhitecturii, secundar`, supus`
mereu unor obiective mult dincolo de ea.
Au fost tenta]i îns` – doar o dat` – [i de tehnologia ca
obiectiv explicit. Acoperirea de metal [i pånz` a Pie]ei
Badea Cår]an (1994-96) a fost pentru ei cu adev`rat o
arhitectur` de tehnologie experimental`. Este singurul
exemplu în cadrul operei firmei A&G în care tehnologia
dep`[e[te condi]ia purei instrumentalit`]i [i devine totul,
devine personaj principal al arhitecturii, devine
arhitectura îns`[i. Este bineîn]eles rezultatul unei
colaborar`ri în domeniul ingineriei (cu inginerul Victor
Gioncu). În context romånesc, a fost într-adev`r un gest
extravagant, ne-necesar – o structur` cum nu mai fusese
pån` atunci realizat` nic`ieri în Romånia, o noutate local`
absolut`. Extrema ei vizibilitate, prezen]a ei ca imagine
nou`, foarte remarcabil` în ora[, a fost [i ea «folosit`»: a
fost pus` în slujba unui gest politic. Aceast` pia]` de lux
tehnologic a fost «o revolt` fa]` de vederile meschine
referitoare la investi]iile urbane», «un refuz fa]` de
pragmatismul îngust», un gest «de sus]inere dat noilor
autorit`]i locale care apar]ineau opozi]iei (la neo-
comuni[ti)». (13)
II.3. Natural [i artificial
Ordinea fenomenologic`
Casa Bistriceanu (1996-2000) se înscrie [i ea cu adev`rat
în spiritul ordinii moderne, în primul rånd prin felul în
care lucreaz` foarte diferen]iat cu spa]iul. Spa]iul este aici
explicit ierarhizat. Un living imens [i deschis amplu spre
gr`din`, cu un loc de discu]ii scufundat [i un [emineu cu
hot` plutitoare de geometrie riguroas`, e un spa]iu major,
cu o imagine puternic`. Celelalte spa]ii de dimensiune
secundar` ale casei se desfac din acest spa]iu «alfa» la
jum`tate de nivel, evitånd astfel închiderea circula]iilor
verticale într-o cas` a sc`rii banal`. Ce e [i mai remarcabil
la aceast` cas` este c`, în afara spa]ialit`]ii diferen]iale [i
a spectacolului vizual, în spiritul pur abstract al
2003 – Locuin]` familial`, zona C`ii Martirilor / 2003 – Family dwelling, C`ii
on the altar of sacred commerce; in the end, it was an excessive
design endeavor, for a space mainly used as a bazaar.
The headquarters of CFR Marf` are in the shape of a box with
subtle proportions, following the classical order of the
regulating paths. They suggest, as a major and extremely
topical theme, a concern with ambiance control techniques:
the interior develops a central lobby with natural ventilation,
very carefully studied, where the main staircase (of metal and
glass, to somehow diminish its too material presence) floats
over a water basin, with the intention of creating a space with
a controlled microclimate. On the main façade, in a fragment
well-delimited as a proportion, exhibited somehow
demonstratively, an ecological mode of using the glass curtain
for the facades of office buildings is presented, that is, in a
double layer, enabling air circulation and brise-soleil. Such
façade systems of double-layered glass will be developed in a
vaster and more coherent manner at the City Business Center.
Modernity as an embracing of present times is, therefore,
present in the firm’s more recent concerns, through these
ecological techniques aiming for «durable development»,
perhaps too conventional and «politically correct», but
nevertheless adopted naturally and without exhibitionism.
They implicitly grant technology a more important place in
their latest works. Their attitude towards technology in
general observes, however, the concept put forward as early
as from the Nautilus House– technology is a purely
instrumental part of architecture, a secondary one, always
coming second to objectives which go far beyond it.
However, they were tempted once – just once – to regard
technology itself as an explicite objective. The covering in
metal and cloth of Badea Cår]an Square (1994-96) truly
meant for them an instance of architecture focused on
experimental technology. It is the only example, within the
works of A&G, in which technology surpasses the condition of
pure instrumentality and becomes everything, becomes the
main character of architecture, becomes architecture itself. It
is, of course, the result of collaboration with an engineer,
Victor Gioncu. It was indeed, in the Romanian context, an
extravagant, unnecessary gesture – a structure never before
achieved in Romania, an utter novelty locally. Its
conspicuousness, its presence as a new, remarkable image in
the city, was also «used»: it was made to serve a political
gesture. This technologically luxurious square was a
«rebellion against the miserly approach to urban
investments», a «rejection of narrow-minded pragmatism», a
gesture of «support of the new local authorities which
belonged to the opposition against neo-communists». (13)
II.3. Natural and Artificial
Phenomenological Order
The Bistriceanu House (1996-2000) also embraces modern
2003 – Locuin]` familial`, zona C`ii Martirilor /
2003 – Family dwelling, C`ii Martirilor District
«promenadei» lui Le Corbusier, ea conteaz` programatic [i
pe alte sim]uri – tactilitate [i sunet. Casa a avut parte [i de
un adev`rat proiect acustic; sunetul, transmis de difuzoare
amplasate studiat, f`cea din spa]iul livingului [i o
experien]` muzical`. Iar lemnul care îmbrac` exterior o
camer` «secret`», la mansard`, aduce o not` de contrast
natural la albul modernist, cumva în maniera lui Alvar
Aalto. F`r` a înceta s` fie modernist`, Casa Bistriceanu
este [i cea mai natural` [i mai fenomenologic` dintre
toate casele firmei A&G, pentru c` lucreaz` cu spa]iul,
materia, lumina, sunetul într-un mod foarte concret,
particular, ipostaziat, p`strånd în acela[i timp [i locuirea
«în esen]a ei» (adic`, în pur spirit heideggerian).
Casa Duda[ (2000-01) repet`, adaptåndu-le îns` într-un
context urban diferit, exact acelea[i gesturi diferen]iale:
spa]ii care se desfac la cote diferite, în amplori diferite;
deschideri diferen]iate dup` însorire; treceri diverse
interior-exterior (de la blindarea fa]adei spre strad`, plus
stratul-retragere în fa]`, la pridvorul mobilat de terase [i
de sera închis`, dar a[ezat` direct pe p`månt natural);
trecerea de la pere]ii albi abstrac]i la materialitatea
special` [i structuralitatea nu mai pu]in special` a
lemnului. Casa Duda[ are îns` chiar [i un fragment din
canonul-portic: spre gr`din`, ea devine o vil` care î[i
ordoneaz` ferm teritoriul.
Materialul în sine nu e o tem` central` pentru A&G, dar
este asumat cu discre]ie [i pragmatism. În cazul
restaur`rilor, materialul trece îns` neap`rat în prim-plan.
În proiectul propus pentru reconsiderarea Sinagogii ca
sal` de spectacole, ei au descoperit – spune Andreescu – c`
restaur`rile, în mod special, «se fac mai ales pe material,
indiferent de ideologie».
Poate cel mai frumos exemplu în acest sens – [i un
monument de «ordine fenomenologic`» de asemenea –
este amenajarea propriului birou, sediul firmei Andreescu
[i Gaivoronschi (2002). Amenajat într-un apartament de la
ultimul nivel al unui imobil de secol XIX, spa]iul de lucru
se ridic` cu o supant` [i în structura podului. Lemnul
[arpantei [i c`r`mida pere]ilor sunt puse în valoare ca o
prezen]` puternic`, dar f`r` striden]`. Dilatarea spa]iului
pe vertical` [i lumina zenital` aduc o calitate excep]ional`
atmosferei tactile din interior. Este un exemplu de lucru
cu materialitatea [i cu datele concrete ale unei situa]ii
particulare, p`strånd în acela[i timp calit`]ile esen]iale de
spa]ialitate [i lumin`: fenomenologie pur`.
Ordinea urban`
Dintre toate lucr`rile firmei A&G, inser]ia poate cea mai
natural` – prin chiar desfacerea ei în multiple
artificialit`]i (exact a[a cum se ]ese ora[ul, în mod
natural-diferen]ial) – este Complexul de hoteluri Perla
(1995-2002). Piesele succesive se insereaz` în timp [i
2007 – «City Business Centre»
order, first, by its different approaches to space. Here, space is
explicitly placed in a hierarchy. The immense living-room,
with its vast opening toward the garden, with a receding
discussion area and a fire place with a floating hood,
evincing rigorous geometry, is a major space having a strong
image. The other house spaces, of secondary size, unfold from
this «alpha» space at half level, thus avoiding the closing of
vertical circulation in an ordinary staircase. What is even
more remarkable at this house is that, apart from the various
spaces and the visual show, in the most abstract spirit of Le
Corbusier’s «promenade», it also counts on other senses – the
sense of touch and the sense of hearing. The house also
benefited from a genuine sound project; the sound,
transmitted through loudspeakers carefully placed, turned
the space of the living into a musical experience as well, and
the wood, covering a «secret» room on the attic floor, creates
a contrast with the natural modernist white, somehow in the
manner of Alvar Aalto. Without ceasing to be modernist, the
Bistriceanu house also is the most natural and
phenomenological of all houses created by A&G, because it
works with the space, with matter, light and sound in a very
specific manner, preserving, at the same time, the habitation
«in its essence» (that is, in true Heideggerian spirit).
The Duda[ House (2000-01) reiterates the same differential
gestures, adjusting them, however, to a different urban
context: spaces unfolding themselves at different levels, in
different amplitudes; openings differentiated according to
the sunlight they allow; various passages from the interior to
the exterior (from the armored street façade plus the
receding layer in the front, to the porch endowed with
terraces and the covered greenhouse, placed directly on the
ground); the transition from the white abstract walls to the
special materiality and special structurality of wood. The
Duda[ house has, nevertheless, a fragment from the canon-
portico: toward the garden, it becomes a villa which firmly
orders its territory.
Material in itself is not a central theme for A&G, but it is
assumed with discretion and pragmatism. When it comes to
restorations, however, the material necessarily becomes a
priority. During the project for the restoration of the
Synagogue as a theatre hall, they discovered – Andreescu
says – that restorations tend to «focus on materials,
irrespective of the ideology».
Perhaps the most appropriate example in this respect and a
monument of «phenomenological order» as well is the
refurbishment of their own offices, the headquarters of the
Andreescu and Gaivoronschi company (2002). Placed in an
apartment on the uppermost floor of an XIXth century
building, the working space is elevated by means of a split
level to the attic floor. The wood of the framing and the wall
bricks are strongly, though not harshly, emphasized. The
expansion of space along the vertical axis and the zenithal
MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
1993 – Magazinul Pandora / 1993 – Pandora Shop
spa]iu în intersti]iile unei insule urbane, în pur`
contingen]`, desigur, ca r`spuns direct la o situa]ie.
Problema arhitec]ilor a fost s` lucreze aici nu atåt cu
tipologiile în sensul lui Rossi, cåt cu ]es`turile pragmatice
ale unui program de micro-cre[tere urban` în depliere, în
intensitate. Spa]iile [i volumele se multiplic` în perfect`
continuitate.
Multiplicarea expresiilor nu face, paradoxal, decåt s`
sublinieze aceast` continuitate natural`. Adrian Iona[iu
(14) sesiza într-un articol multitudinea de analogii posibile
la «mozaicul» de limbaje ale corpurilor distincte:
«ra]ionalist fascist`» la corpul dinspre curte, «anii ’60» la
corpul dinspre strad`, «anii ’90» la pasarela de metal [i
sticl` – la care a[ ad`uga [i imaginea de modernism de
Nou` Obiectivitate în perspectiva dinspre interiorul
insulei spre cap`tul corpului lung. Complexul Perla este
un exemplu de dezvoltare prin multiplicitate [i
continuitate de scar`, care îmbog`]e[te [i respect` ordinea
urban`.
Cea mai recent` dezvoltare în «ordine urban`» – n`scut`
printr-un plan coerent, dar tot cumva natural, aditiv – este
ansamblul City Business Centre (2005-2008). Firma A&G
este aici parte dintr-un angrenaj mai mare, avånd [ansa
s` colaboreze cu un developer dinamic [i tån`r, cu
adev`rat interesat de arhitectur`. Dezvoltarea porne[te de
la fosta Fabric` de confec]ii Modatim (devenit` acum
Modatim Investment SA) [i este la o scar` destul de mare,
un adev`rat fragment de ora[, în chiar apropierea
intramuros-ului: o situa]ie poten]ial conflictual`. Oricum,
spun ei, azi solu]iile de pur` continuitate urban` nu mai
sunt valabile. Au înv`]at deja de la Koolhaas c` po]i opera
la scar` mare, [i chiar prin contrast, cu condi]ia s` realizezi
o unificare func]ional`, în layere. De[i e vorba aici, ca
program, de o dezvoltare imobiliar` tipic`, banal` chiar
(birouri), tipologia urban` nu e tocmai banal`, cel pu]in în
Romånia. A existat un acord perfect între arhitec]i [i
investitor pentru un ansamblu de construc]ii-bloc de
în`l]ime medie, respingånd formula construc]iilor-turn –
tipologia care cucere[te de obicei, prin facilitatea imaginii,
pe promotorii curen]i. Arhitec]ii au demonstrat îns` c` se
poate cre[te [i în suprafa]`, prin densitate mai mare, f`r`
turnuri, care s-ar fi afirmat prea violent în silueta
centrului istoric, pe lång` c` ar fi fost [i mai scumpe.
Prima din cele 5 cl`diri a fost deja realizat`. Fa]ada
reu[e[te s` scape din banalul celui mai banal con]inut de
2007 – Casa Po[a / 2007 – Po[a House
light bring an exceptional quality to the tactile atmosphere
inside. It is an example of working with materiality and with
the concrete data of a particular situation, preserving, at the
same time, the essential qualities of spatiality and light: pure
phenomenology.
Urban Order
Of all the works achieved by A&G, perhaps the most natural
insertion – by its very unfolding in multiple artificial
structures, much the same way as the city is weaven, in a
natural-differential manner, is the Perla Hotel Complex
(1995-2002). Successive pieces are inserted in time and space
in the interstices of an urban island, in pure contingency,
naturally, as a direct answer to a situation. What the
architects had to deal with here was not so much typologies
as Rossi understood them, as the pragmatic network of a
steadily unfolding urban micro-growth. Spaces and volumes
multiply in perfect continuity.
The multiplication of expressions, paradoxically, only
manages to emphasize this natural continuity. Adrian
Iona[iu (14) noticed in an article the multitude of possible
analogies to the «mosaic» of languages of the distinct units:
«rationalist-fascist» at the unit facing the yard, «60’s style»
at the unit facing the street, «’90s» at the metal and glass
bridgeway, to which I would add the impression of New
Objectivity modernism left by the perspective from the inside
of the island toward the end of the long unit. The Perla
Complex is an example of development by multiplicity and
continuity which enriches and respects urban order.
The most recent development in the «urban order», arising
from a coherent, although still natural, additive plan, is the
City Business Centre Complex (2005-2008). A&G forms here
part of a larger team, having the chance to collaborate with a
yound and dynamic developer with a genuine interest in
architecture. The development started from the former clothes
factory Modatim (who has now become Modatim Investment
SA) and unfolds at a fairly large scale, it truly is a city
fragment, close to the intra muros – a potentially conflicting
situation. Anyway, according to them, the solutions of pure
urban continuity are no longer valid nowadays. They have
already learned from Koolhaas that you can operate on a
large scale, and also create a contrast, provided that you
achieve a functional unity in layers. Although what we are
dealing with here, as a program, is a typical instance of real
estate development, fairly commonplace (office buildings), the

1993 – Cofet`ria Trandafirul / 1993 – «Trandafirul» Confectionery
program, al «birourilor clasa A», prin utilizarea ingenioas`
a unor materiale altfel curente, sticl` [i ceramic`. Auto-
afirmarea arhitecturii ca design este perfect dozat`, nimic
nu e aici prea mult sau prea pu]in.
Holul intr`rii con]ine o învelire a spa]iului cubic într-o
]es`tur` de tuburi de sticl` trase pe sårme [i umplute cu o
pudr` str`lucitoare – un fel de decora]ie imprevizibil`, la
mijlocul drumului între un element arhitectural [i o
instala]ie de art`, rezultat al inventivit`]ii tån`rului Dan
Munteanu. E doza de ira]ional indispensabil` în inima
unui irepro[abil pragmatism. Dar totodat` [i afirmarea
unui alt credo al firmei A&G: arta are dreptul s` intre în
arhitectur` [i s` se afirme ca o prezen]` de-a dreptul
explicit`.
Ordinea artei
Inserarea artei ca art` – [i deci colaborarea cu arti[tii –
este parte a unei deschideri programatice în firma A&G.
Cu pictorul Sorin Nicodim, de exemplu, au colaborat
repetat. El a contribuit la decorarea interioarelor la cele
dou` Hoteluri Reghina.
La amenajarea spa]iului de rela]ii cu publicul pentru
Romtelecom Timi[oara (1998-2000), sculpturile lui Victor
Gaga au fost aduse pentru a contrasta cu rigurozitatea
tehnologic` a finisajelor [i a obiectelor expuse. În spa]iul
inten]ionat rupt de lumea exterioar` a str`zii, tehnologia
a fost subliniat` prin telefoanele expuse cumva plutind
izolat în spa]iu, aparate zbur`toare într-un negru sclipitor
de eter. Senza]ia de spa]iu-alien era înt`rit` de prezen]a
sculpturilor – arta [i-a jucat rolul într-un scenariu de
stranietate complet controlat; nu e de mirare c`
amenajarea nu mai exist`. Era prea intens` ca s` poat`
rezista în timp.
Arti[tii sunt c`uta]i pentru ceea ce numai ei pot da, nu
numai ca îmbog`]ire decorativ` a interioarelor, ci chiar
mai mult, ca inspira]ie propriu-zis arhitectural`. Cea mai
recent` întålnire a firmei este cea cu Silviu Or`vitzan. Nici
o form` nu transmite «devenirea spiritual`» a[a cum o fac
pattern-urile lui Or`vitzan – spune Andreescu. El va fi
colaborator, cu un rol capital, la un «design-hotel» în
Gala]i (Hotel «Dun`rea», 2007-08). Acesta ar putea fi
primul dintr-o serie de hoteluri cu o politic` de imagine
coerent` în jurul pattern-urilor artistului. Va fi îns` o
întålnire problematic` a artei cu arhitectura, a artistului
cu arhitec]ii – iar paradoxul acestei întålniri va r`måne
Dincolo de certitudini. Andreescu [i Gaivoronschi.
urban typology is not exactly commonplace, at least not in
Romania. There was perfect understanding between the
architects and the investor for the construction of a complex
of blocks-buildings of average rise, rejecting the formula of
tower-like constructions, which usually wins over the
developers of our days through its facile imagery. The
architects proved that horizontal expansion can be achieved
by means of greater density, without towers, which would
have asserted themselves too violently in the silhouette of the
historical center and would have undoubtedly been too costly.
The first of the five buildings has already been constructed.
The façade manages to elude the dullness of the dullest
programmatic contents ever, «class A offices», by making
ingenious use of otherwise ordinary materials, such as glass
and clay. Self-assertion of architecture as design is perfectly
managed here, there isn’t too much or too little of anything.
The entrance lobby contains a covering of the cubic space in a
web of glass tubes pierced by wires and filled with a shining
powder – an unexpected decoration, half-way between an
architectural element and an art installation, product of the
inventiveness of young Dan Munteanu. It is the dose of
irrationalism absolutely indispensable in the heart of
immaculate pragmatism. It also is the assertion of another
credo of A&G: art has all the right to join architecture and to
make its presence felt in an explicit fashion.
The Order of Art
The insertion of art as art – and therefore the collaboration
with the artists – is part of a programmatic opening in A&G.
They have repeatedly collaborated with painter Sorin
Nicodim, for instance, who brought his contribution to the
interior decoration of the two Reghina hotels.
Victor Gaga’s sculptures were inserted in the public relation
space inside the headquarters of Romtelecom Timi[oara
(1998-2000) to contrast with the technological rigorousness
of the finishing and displayed objects. Inside that space,
intentionally separated from the exterior street space,
technology was emphasized by the telephones exhibited
somehow floating in space, isolated, flying machines in a
shining ethereal blackness. The sensation of alien space was
strengthened by the presence of sculptures – art played its
role in a strangeness-focused, completely controlled scenario;
it is no wonder that the arranged space no longer exists; it
was too intense to stand over time.
Artists are sought for what only they can give, not only in
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½30¹
probabil acut, nerezolvat, ca o etern` aporie. C`ci la
Or`vitzan schimbarea, alunecarea spre altceva, «devenirea
spiritual`» se afirm` de fiecare dat` altfel, în pattern-ul
însu[i. A[a ceva nu se poate folosi. Va fi poate la limita
imposibilului ca repetitivul static, func]ional, comercial,
standardizabil, instrumental al arhitecturii s` nu ucid`
pattern-urile vii [i diferen]iale ale artei.
Dar Andreescu [i Gaivoronschi [tiu deja de mult c` nu
exist` provocare mai fertil` ca paradoxul.
Încheiere
«Eu nu mai cred acum c` arhitectura e cel mai important
lucru, ci rela]ia» – spune Ioan.
Orice «rela]ie» cere îns` obligatoriu o mic` tr`dare a
certitudinilor. În «rela]ie» nu po]i s` [tii dinainte precis
unde ajungi. «Rela]ia» înseamn` deschidere, deci implic`
risc. Dac` e ceva ce r`måne îns` absolut cert este rostul
arhitecturii de a da densitate [i intensitate realit`]ii care
ne înghite ca o mare indiferent`. Legitimarea arhitecturii
prin calitate e o certitudine incontestabil`.
Or, «cånd [tii c` ai ajuns la ce trebuie» – spune Vlad –
«atunci pur [i simplu [tii; atunci nu mai ai îndoieli».
Ioan Andreescu [i Vlad Gaivoronschi au realizat deja, [i
mai au cu siguran]` înainte, o oper` consistent`. Ea este
definit` prin ceea ce ei pun în rela]ie, caut`, descoper`,
inventeaz`, testeaz`, construiesc, asambleaz`, instituie. Ea
datoreaz` poate destul [i certitudinilor – credin]ei în
sisteme de ordine esen]ial`, originar`, matricial`, etern` [i
stabil`, credin]` pe care ei, cu modestia calit`]ii, o afirm`
neclintit. Dar în ultim` instan]`, opera lor a reu[it s` fie
una de referin]` f`r` s` se opreasc` în ele. Totul r`måne
mereu de f`cut, de inventat, de demonstrat. E o oper`
deschis`.
Singura certitudine este c` Andreescu [i Gaivoronschi au
ajuns acolo unde trebuie – adic` în continu` devenire în
calitate – [i ei [tiu asta.
terms of decorative enrichment of the interior spaces, but
also in terms of architectural inspiration per se. The
company’s most recent collaboration is with Silviu Or`vitzan.
No form conveys «spiritual development» quite like
Or`vitzan’s patterns, Andreescu says. He will be a
collaborator with a capital role, in a «design-hotel» in Gala]i
(«Dun`rea» Hotel, 2007-08). This could be the first of a series
of hotels with a coherent image created around the artist’s
patterns. It will be, however, a problematic encounter, of art
with architecture, of the artist with the architects, and the
paradox of such encounter will probably remain acute and
unsolved, like an eternal aporia. Because, with Or`vitzan,
change, slide towards something else, the «spiritual
becoming» is asserted differently every time, in the pattern
itself, and this cannot be used. It is quite unlikely that the
static, functional, commercial, standardized, instrumental
repetitiveness of architecture should not kill the living and
differential patterns of art.
But Andreescu and Gaivoronschi have long known that there
isn’t a more fertile challenge than paradox.
Conclusion
«I no longer believe now that architecture is the most
important thing; I believe that relationship is», says Ioan.
However, any «relationship» obligatorily requires a betrayal of
certainties to a certain extent. In a «relationship» you cannot
know beforehand where you are going. A «relationship»
means opening, and therefore, taking chances. However, if
something remains certain, it is the role of architecture to lend
density and intensity to the real world which engulfs us like
an indifferent sea. The architecture’s gaining legitimacy
through quality is an undeniable certainty.
Or, «when you know you have done the right thing – says
Vlad – then you just know; you no longer have doubts».
Ioan Andreescu and Vlad Gaivoronschi have already
achieved, and are definitely looking ahead at, a consistent
body of work. It is defined by what they inter-relate, seek,
discover, invent, test, build, assemble and establish. It
probably owes a lot to certainties – to the belief in systems of
essential, primary, matriceal, eternal and stable order, a
belief that is resolutely asserted by them with all the modesty
of quality. However, in the end, their work has managed to
become a landmark without confining itself to such
certainties. Everything remains to be done, invented, proven.
It is an open work.
The only certainty is that Andreescu and Gaivoronschi have
done the right thing – that is, they have achieved continuous
development through quality. And they are aware of it.
(Translation: Claudia Rada)

Note:
1. Ana Maria Zahariade, «Echilibrul uitat, Timi[oara 1991-1996», în:
Catalogul Pav. Romåniei, 6a Mostra Internazionale di architettura/
Biennale di Venezia, Ed. Simetria, Bucure[ti, 1996, pp. 9-10
2. Vlad Gaivoronschi, «Noi nu avem în arhitectura noastr` un
Bråncu[i – un dialog între Vlad Gaivoronschi [i Arpad Zachi», în:
«Arhitext Design», nr. 5/2003, p. 43
3. Cei doi – mai spune Ana Maria Zahariade în catalogul Bienalei –
«practic` o descriere hermeneutic` a arhitecturii», «în]eleg
arhitectura ca pe o alternativ` ordonatoare la actuala celebrare a
haosului», «au parcurs un drum de la postmodernismul istoricist la
modernism»; Ana Maria Zahariade, op.cit., pp. 10, 40
4. Ioan Andreescu, în: Catalogul Pav. Romåniei, 6a Mostra
Internazionale di architettura/ Biennale di Venezia, Ed. Simetria,
Bucure[ti, 1996, p. 41
5. «A Meditation Chapel», concurs organizat de revista «Japan
Architect» [i Central Glass, Tokyo, 1981 (autori Ioan Andreescu, Vlad
Gaivoronschi, Florin Colpacci, Adrian Iona[iu, Claudiu Panaitescu)
6. Vlad Gaivoronschi, op. cit., p. 43
7. Proiect pentru concursul «O locuire poetic`», Bucure[ti, 1987 (autori
Ioan Andreescu [i Dan D`ncil`).
8. Ioan Andreescu, Origini spirituale în arhitectura modern`, Ed.
Paideia & Simetria, Bucure[ti, 2000; Vlad Gaivoronschi, Matricile
spa]iului tradi]ional, Ed. Paideia, Bucure[ti, 2002
9. |ntr-o discu]ie despre amenajarea sediilor de birouri de arhitec]i, în:
«de arhitectur`», nr. 1/2000, p. 7
10. Ioan Andreescu, «Casa Jumanca», în: «de arhitectur`», nr. 9/2003,
p. 3
11. Ibid.
12. Ibid.
13. Ana Maria Zahariade, op. cit., p. 46
14. Adrian Florin Iona[iu, «Complexul Perla», în: «de arhitectur`», nr.
8/2003, p. 8
2003 – Locuin]` familial`, zona C`ii Martirilor / 2003 – Family dwelling, C`ii Martirilor
Dincolo de certitudini. Andreescu [i Gaivoronschi.
½31¹
Notes:
1. Ana Maria Zahariade, «Echilibrul uitat, Timi[oara 1991-1996», in:
The Catalogue of Romania’s Pavilion, 6a Mostra Internazionale di
architettura / Biennale di Venezia, Simetria Publishing House,
Bucharest, 1996, pp. 9-10
2. Vlad Gaivoronschi, «We do not have a Bråncu[i in our architecture –
a dialogue between Vlad Gaivoronschi and Arpad Zachi», in:
«Arhitext Design», no. 5/2003, p. 43
3. The two – Ana Maria Zahariade also states in the catalogue of the
Biennale – «practise a hermeneutical description of architecture»,
«understand architecture as an ordering alternative to the current
celebration of chaos», «they have come a long way from historicist
postmodernism to modernism»; Ana Maria Zahariade, op.cit., pp. 10, 40.
4. Ioan Andreescu, in: The Catalogue of Romania’s Pavillion, 6a Mostra
Internazionale di architettura/ Biennale di Venezia, Simetria
Publishing House, Bucharest, 1996, p. 41.
5. «A Meditation Chapel», contest organized by the «Japan Architect»
magazine and the Central Glass, Tokyo, 1981 (authors Ioan
Andreescu, Vlad Gaivoronschi, Florin Colpacci, Adrian Iona[iu,
Claudiu Panaitescu)
6. Vlad Gaivoronschi, op. cit., p. 43
7. Project for the contest «A poetical dwelling», Bucharest, 1987
(authors: Ioan Andreescu and Dan D`ncil`).
8. Ioan Andreescu, Origini spirituale \n arhitectura modern`, Paideia &
Simetria Publishing House, Bucharest, 2000; Vlad Gaivoronschi,
Matricile spa]iului tradi]ional, Paideia Publishing House, Bucharest,
2002
9. In a discussion on the architects’ arranging the office buildings, in:
«de arhitectur`», no. 1/2000, p. 7
10. Ioan Andreescu, «Jumanca House», in: «de arhitectur`», no. 9/2003, p. 3
11. Ibid.
12. Ibid.
13. Ana Maria Zahariade, op. cit., p. 46
14. Adrian Florin Iona[iu, «Perla Complex», in: «de arhitectur`», no.
8/2003, p. 8
Lucr`ri [i Proiecte
Works and Projects
 Lucr`ri realizate \n comun / Common Projects

Hotel Perla 2 /
Bijuteria «Gold Tim» / «Gold Tim» Jewelry Store e Pia]a Badea Cår]an /
Perla 2 Hotel
Badea Cår]an Market
Hotel Reghina / Reghina Hotel Amenajare Birou de Proiectare
Andreescu & Gaivoronschi / Fitting Out
Andreescu & Gaivoronschi Design Office
Agen]ia comercial` [i de
rela]ii cu publicul
Romtelecom / Timi[oara
Romtelecom Commercial
and Public Relations
Agency
Cei ce ne cunosc se vor mira poate sesizånd \n titlul
acestei comunic`ri modul \n care ne \ndator`m ideilor de
felul celor expuse cu atåta concizie de Philip Johnson:
«Arhitectura nu este tehnologie, nu este inginerie, nu este
sociologie, … nu este politic`. Arhitectura este art`, art`
pur`, la fel ca [i pictura [i muzica [i, dac` ne mai \ndoim
\nc` de acest lucru, comitem o grav` eroare. Dar orice
apropieri sau asem`n`ri nu sunt, parafrazånd, nici voite,
nici \ntåmpl`toare, ci INEVITABILE. ...
C`ci \nainte de a putea spune ca Vitruvius, c` arhitectura
este Soliditate, Utilitate, Frumuse]e, ea a fost Imago,
proiec]ie [i expresie concret` a ordinii cosmice. ...
Iar mi[carea modern`, \ntr-o ultim` neputin]` de a
implanta \n realul dezgolit de sens, imaginea «cet`]ii
ideale», celebreaz` noii zei ai unei ere profane, ritmuri [i
armonii ma[iniste. {i nu este inten]ia noastr` aici [i acum
de a-i sonda rolul [i meritele, ci de a consemna sfår[itul
unui mod de a gåndi bazat pe devenire [i sens [i
\nlocuirea lui cu un altul bazat pe profitabilitate [i
\n]elesuri. ...
Ne g`sim acum \ntr-o lume \n care disocierea func]iilor
tinde c`tre spargere, <… o epoc` \n care scizurarea dintre
minte, materie [i suflet (pentru a folosi termenii lui
Dante)> a devenit atåt de absolut`, \ncåt presim]im
r`sturnarea lor…». Pe fondul completei separ`ri dintre
func]ional, estetic [i simbolic, asist`m ast`zi la retragerea
arhitecturii din contextul sociologic [i ambiental, cu
inten]ia de a reveni art` pur`, suit` «\ntr-un turn de
filde[, \nconjurat de o aur` a extazului [i a nelini[tii.»
De la geam c`tre vitraliu
Vlad Alexandru Gaivoronschi, Ioan Andreescu,
Alexandru Florin Colpacci, Adrian Iona[iu
Catalog al Seminarului Interna]ional de Arhitectur`
Bucure[ti 1982 organizat de CASC [i Institutul de
Arhitectur` «Ion Mincu» Bucure[ti.
De-a lungul discu]iilor (textelor) noastre, [i mai ales \n
materialul trimis la Paris, am actualizat evolu]ia
(involu]ia) textului arhitectural: de la textul ca «val», \n
spatele c`ruia se g`se[te Sensul, pån` la textul ca proprie
textur`. (Barthes vorbe[te despre text ca o \ntre]esere de
mai vechi citate, \n loc de Sens, despre sensuri mereu noi
ce se relev` prin acoperire [i dep`rtare.)
Vlad Gaivoronschi, Olimp, 12.09.1982
Maybe those who know us will be intrigued noticing, in the
title of this communication, the way in which we subordinate
ourselves to ideas like those presented with such concision by
Philip Johnson: «Architecture is not technology, is not
engineering, is not sociology, ... is not politics. Architecture is
art, pure art, just like painting and music and, if we are still
doubting this we are make a big mistake. But any adjoinings
or resemblances are, paraphrasing, nor intended, nor
accidental, but inevitable. ...
Because before we can say, like Vitruvius, that architecture is
Stability, Utility, Beauty, it was Imago, concrete projection
and expression of cosmic order. ...
And the modern movement, in a last failure of implanting in
the meaningless existing the image of the «ideal citadel»,
celebrates the new gods of a profane era, mechanic rhythms
and harmonies. And it’s not our intention here and now to
dig out its role and merits, but to record the end of a
mentality based on becoming and sense and its replacement
with another, based on profitability and meanings. ...
We are now finding each other in a world in which the
dissociation tends towards disruption, <... an era in which the
break between mind, matter and soul (to use Dante’s terms)>
became so absolute that we prevent their turn-over...».
On the ground of the complete separation between
functional, esthetic and symbolic, we are assisting today at
the withdrawal of architecture from the sociological and
ambiental context, marking the intention of becoming pure
art, climbed «in an ivory tower surrounded by an aura of
ecstasy and anxiety.»
From window to stained glass
Vlad Alexandru Gaivoronschi, Ioan Andreescu,
Alexandru Florin Colpacci, Adrian Iona[iu
The catalog of The International Seminar of Architecture,
Bucharest 1982, organized by CASC and The Architecture
Institut «Ion Mincu» Bucharest.
(Translation: Livia Ivanovici)
Along our discussions (texts), and especially in the material
we sent to Paris, we updated the evolution (involution) of
the architectural writing: starting from the text as a
«wave» behind which can be found The Meaning, to the
text as self texture. (Barthes speaks about text as an
interlacing of older quotations, instead of Meaning, about
meanings, always new, that reveal themselves by covering
and distancing.)
Vlad Gaivoronschi, Olimp, 12.09.1982
(Translation: Livia Ivanovici)
Neputånd vorbi decåt despre ea \ns`[i [i \nc` \ntr-un
vocabular puritan [i restrictiv, arhitectura modern` a
devenit pentru majoritatea oamenilor «o arhitectur`
t`cut`»; mai mult, un limbaj autogenerat nu poate fi
stilistic bogat, un individ nu poate produce singur bog`]ia
de elemente ale unui stil constituit. Din cauza aceasta [i
datorit` postulatului capital pentru el al omogenit`]ii,
arhitectul modern, pentru a evita disonan]ele, caut` s`
foloseasc` forme simple, f`r` caracter, indiferente,
ob]inånd opere s`race, univoce [i neutre. Marilor ambi]ii
moderniste, degradate \n banalitatea practicii curente –
cu efecte devastatoare asupra habitatului uman – le
succede o arhitectur` neambi]ioas`, umil`, nesincer` [i
critic`: arhitectura post-modern`. Antiutopic`, reluånd
bucuroas` dialogul cu tradi]ia, dezavuånd schimb`rile [i
glorificånd «status quo-ul», arhitectura aceasta ]ese fire
de continuitate cu ultima verig` a lan]ului \ntrerupt de
ruptura modernist`: cu sfår[itul secolului XIX. Repertoriile
stilistice ale clasicismului, eclectismului [i Jugendstil-ului
sunt reluate cu delicii, repetate cu pietate, refolosite cu
cinism sau umor, modificate, transformate. Este o
arhitectur` simbolic`, «o arhitectur` a sensului»
\nlocuind «arhitectura expresiei» (Venturi), o arhitectur`
dedicat` valorilor comunic`rii, o arhitectur` a decora]iei
aplicate, a banalit`]ii a[a cum o define[te ECO: «pentru a
introduce noi func]ii trebuie s` ne sprijinim pe vechi
forme cunoscute. Un principiu semiologic de baz` se
repet` aici… foarte bine explicat \n Poetica lui Aristotel:
elementele de informa]ie bogate pot fi introduse doar
sus]inute \n centuri de redundan]`. Fiecare vårf de
improbabilitate r`måne conectat cu posibilul».
Ioan Andreescu
Text scris cu ocazia expozi]iei
Timi[oara, Topos [i adecvare – 1983
Being able to talk only about it and even so in a puritan
and restrictive vocabulary, modern architecture became for
the majority of people «a silent architecture»; even more, a
self generated language cannot be stylistically rich, a single
person cannot produce the abundance of elements of an
already formed style. Due to this matter and due to his
capital postulate of homogeneity, the modern architect, in
order to keep away from dissonances, looks for simple,
indifferent, without character forms to use, obtaining poor,
univocal and neutral creations. The great modernist
ambitions, degraded in the banality of regular practice –
with devastating effects upon the human habitat – are
being succeeded by an architecture which lacks ambition,
being humble, insincere and critical: post-modern
architecture.
Antiutopic, gladly picking up the thread with tradition,
disavowing the changes and glorifying the «status quo»,
this architecture ties threads of continuity with the last link
of the chain which had been interrupted by the modernist
brake: with the end of the XIXth century. The stylistic stock
of classicism, eclectism and Jugenstyle are reassumed with
feast, repeated religiously, cynically or humorously reused,
modified, transformed. It’s a symbolic architecture, «an
architecture of sense» replacing «the architecture of
expression» (Venturi), an architecture dedicated to the
value of communication, an architecture of applied
decoration, of banality like ECO defines it: «to introduce
new functions we must base ourselves on old known
shapes. A basic semiotic principle is being repeated here ...
very well explained in Aristotle’s Poetica: rich information
elements can be introduced only supported in redundancy
belts. Every pick of improbability remains connected with
the contingent».
Ioan Andreescu
The text was written for the exhibition
Timi[oara, Topos and Adequacy – 1983
(Translation: Livia Ivanovici)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½38¹
Amenajare Sediu Proiectare Andreescu & Gaivoronschi
Fitting Out Andreescu & Gaivoronschi Office
Amenajarea noului sediu al S.C. Andreescu & Gaivoronschi S.R.L.
a presupus o opera]ie complex` de interven]ie \ntr-o cl`dire
monument istoric de sec. XIX din centrul Timi[oarei. Situat`
\n cadrul unui ]esut urban specific cet`]ii baroce (sec. XVIII),
aliniat` la frontul stradal [i dezvoltat` \n adåncimea parcelei,
cu curte interioar` [i cursive, cl`direa ad`poste[te ast`zi, \n
cele dou` etaje, sedii de firme, birouri notariale, un sediu de
partid, apartamente, iar la parter servicii de tip frizerie,
coafur`, croitorie etc. Tot aici a existat pån` nu demult un
sediu al sucursalei timi[orene a cotidianului «Evenimentul
The refurbishment works to the new headquarters of
Andreescu & Gaivoronschi S.R.L. implied a complex
operation of intervention on a XIXth century historical
monument located in the center of Timi[oara. Placed in an
urban environment characteristic of the XVIIIth century
baroque fortified town, aligned to the street front and
developed along the depth of the plot, the building hosts
today, in its two floors, company headquarters, notarial
offices, a political party’s headquarters, apartments, and
on the ground floor, haircut services for men and women,

Zilei» (care a ocupat complet curtea interioar` pe parter).
Acest amalgam de func]iuni prezent ast`zi urmeaz` unei
istorii de peste 150 de ani; construit` \n 1852, ca hotel sub
denumirea «Cerbul de Aur», pe amplasamentul unei
cl`diri de sec. XVIII avariat` \n timpul asediului din 1849,
cl`direa a ad`postit func]iuni diverse. |n anii ’40, cl`direa
a suferit o prim` interven]ie vizibil` \n parter [i etajul I.
A doua repara]ie a avut loc \n 1977. |n prezent, prim`ria
inten]ioneaz` o interven]ie asupra ei, \n condi]iile \n care
\n anii ’80, o travee a acesteia s-a pr`bu[it. Interven]iile
Amenajare Sediu Proiectare Andreescu & Gaivoronschi
a tailor’s shop etc. Not long ago, the headquarters of the
Timi[oara branch of daily newspaper «Evenimentul Zilei»
used to operate here (it has currently occupied the entire
inner yard on the ground floor). This present
amalgamation of functions comes after a 150-year history;
built in 1852 as a hotel under the name «The Golden Stag»,
on the site of an XVIIIth century building damaged during
the 1849 siege, the building had various functions. In the ’40s,
the building suffered a first visible intervention on the
ground floor and on the Ist floor. The second repair works
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½40¹
Plan curent / Current floor plan
punctuale generate de dinamica accentuat` a interesului
pentru aceast` zon`, precum [i de starea mozaicat` a
propriet`]ii, au precedat interven]iile masive, coordonate
ale prim`riei. |n aceste condi]ii, amenajarea
apartamentului de 85mp de la etajul II \n birou de
proiectare a presupus mult mai mult decåt un proiect de
design interior. |n primul rånd, a fost necesar` interven]ia
par]ial` asupra st`rii fizice a cl`dirii, aceasta
presupunånd lucr`ri de restaurare, consolidare: –
repararea [arpantei vechi, \nlocuirea c`priorilor [i altor
elemente putrezite, \nlocuirea \nvelitorii de ]igl`,
asanarea podului etc. – repara]ii ale zid`riei, consolidare a
co[urilor de fum, inject`ri (interven]ii specifice pentru
ziduri vechi) – repara]ii ale tinichigeriei – cur`]area
vechilor straturi de tencuial` pån` la c`r`mid` \n
apartament. Din punctul de vedere al organiz`rii
func]ionale, cei 123mp pot ad`posti maxim 12 persoane
(secretara inclusiv) lucrånd la computerele \n re]ea [i la
mesele de desen. Pot fi organizate \ntålniri cu
colaboratorii sau clien]ii precum [i [edin]ele de lucru
interne \n trei zone distincte, unde au fost amplasate
locuri de discu]ii: la intrare, \n camera de primire, \n
cap`t, \n spa]iul de lucru al arhitec]ilor principali [i la
supant`, \n spa]iul de lucru al asocia]ilor. Arhiva este mai
sus, sub acoperi[, \n zona de pod \nchis`. Spa]iul biroului
a fost prev`zut cu instala]ii complet noi, pe lång` cele
electrice de alimentare cu ap` [i canalizare [i re]eaua de
took place in 1977. At present, the mayoralty intends to
carry out intervention works, because a bay collapsed in
the ’80s. Punctual interventions generated by the
increasing interest aroused by this area, and by the mosaic-
like state of the property, preceded the massive coordinated
interventions of the mayoralty. Under the circumstances,
the refurbishment of the 85 sqm apartment on the IInd
floor and its conversion into a design office implied much
more than an interior design project. First, partial
intervention on the physical state of the building was
required, which implied restoration and consolidation
works: – repairing the old framework, replacing the rafters
and other rotten components, replacing the tile roof
covering, drying up the attic floor etc. – repairing the
brickwork, consolidating the smoke chimneys, infusions
(specific interventions for old walls) – repairing the tin
objects – cleaning the old plaster layers until reaching the
brick in the apartment. In terms of functional
organization, the 123 sqm can shelter maximum 12 persons
(including the secretary) working on the computer network
and at the drawing tables. Meetings with the collaborators
or the clients, as well as internal working sessions may also
be organized in three distinct locations where discussion
areas have been arranged: at the entrance, in the guest
room at the end, in the working space of the main
architects, and at the split level, in the working area of the
associates. The archive is placed higher, under the roof, in

Plan mansard` / Attic plan
computere \n plint`, fiind prev`zut` instala]ia de senzori
de fum anti-incendiu, instala]ia de securitate antifurt,
instala]ia de aer condi]ionat [i cea de \nc`lzire proprie.
Utilizarea por]iunii de pod de deasupra apartamentului a
\nsemnat o schimbare de ambian]`, lumin` etc. a
spa]iului ini]ial [i de asemenea a presupus o sporire a
suprafe]ei cu 38 mp de supant`. Introducerea celor [ase
ferestre «Schindler» de pe acoperi[ a generat o modificare
radical` a atmosferei, diferit` de cea mohoråt` a
apartamentului ini]ial. Spa]iul a dobåndit un dinamism
ascensional generat de lumina prelins` pe pere]i printre
grinzile de lemn (marginea supantei este retras` cu 1.70m
fa]` de conturul exterior al zidurilor, permi]ånd luminarea
[i ventilarea); cinci ferestre din acoperi[ situate c`tre sud
definesc \n interior \n anumite momente fascicule
paralele de lumin` diafan` [i efemer`; a [asea fereastr`
din acoperi[, de pe latura nordic`, asigur` iluminarea
unei zone mai \ntunecoase aflat` \n inima
apartamentului. Scara interioar` din lemn de frasin cu
trepte trapezoidale \ntre vanguri este abrupt` [i, pe cåt a
fost posibil, ergonomic`. Este, totodat`, obiectul dinamic
ce contribuie la atmosfera general`. Strategia proiectului
s-a nuan]at pe parcursul [antierului, odat` cu
descoperirea sub straturile de paie [i scåndur` tencuite
ale tavanului a vechilor lambriuri a[ezate \ntre grinzile de
lemn. Toate elementele vechi din lemn au fost l`sate la
vedere, ignifugate [i impregnate cu culoarea brun \nchis
Amenajare Sediu Proiectare Andreescu & Gaivoronschi
½41¹
the closed attic area. The space of the office has been
provided with brand new fittings, the smoke sensor fire
installation, the security anti-theft installation, the air-
conditioning installation and its own heating installation
being added to the electrical wiring, the water supply and
sewage pipes and the computer network on the plinth.
Making use of the attic floor portion located above the
apartment meant a change of ambiance, light etc. of the
initial space and also implied an area increase with 38 sqm
of split level. The introduction of the six «Schindler»
windows on the roof generated a radical change in the
atmosphere, different from the gloomy one characterizing
the initial apartment. The space acquired ascending
dynamics generated by the light sliding down the walls
through the wooden beams (the margin of the split level
recedes by 1.70 m from the outer walls, allowing
illumination and ventilation); five roof windows looking to
the South define on the inside, at certain times, parallel
beams of diaphanous and ephemeral light; the sixth
window in the roof, located to the North, ensures
illumination of a darker area located at the heart of the
apartment. The indoor staircase, made of ash wood, with
trapezoidal stairs between the stringers is abrupt and
ergonomic, to the extent possible. It is also the dynamic
object which brings its contribution in creating the general
atmosphere. The strategy of the project refined in stages,
throughout the works, once the old wainscoting placed
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½42¹
(«nuc antic»). Tåmpl`riile originale (u[i [i ferestre c`tre
strad`) au fost cur`]ate [i finisate de c`tre restauratori de
mobil` veche. Parchetul original a fost ra[chetat [i
paluxat. Reflectoarele negre pe grinzile de lemn, aplicile
semnate Antonio Citerio la supant`, l`mpile «Artemide»,
scafa de lumin` orizontal` ce accentueaz` efectul de
fluiditate – continuitate spa]ial`, definesc un ambient
prietenos de «cas` de proiectare»; acesta este \nt`rit [i de
tablouri cu operele lui Palladio de pe pere]ii tencui]i
sub]ire [i zugr`vi]i alb, al`turi de care, piese de mobilier
original de la \nceputul secolului XX, amintesc de
preocup`ri ale celor ce lucreaz` aici.
Vlad Gaivoronschi
Text publicat ini]ial \n «Arhitext», nr. 9-10/2004
between the wood beams was discovered under the layers
of straw and plastered board. All the old wooden elements
were left visible, provided with a fire proof layer and
painted in dark brown («antique walnut»). The original
joinery (doors and windows facing the street) was cleaned
and applied a finishing by antique furniture restorers. The
original parquet was scraped and polished. The black
reflectors on the wood beams, the lamp brackets signed
Antonio Citerio on the split level, the «Artemide» lamps,
the horizontal light soffit which highlights the fluidity
effect-spatial continuity, define a friendly ambiance of this
«design house», strengthened by Palladio paintings put on
the thinly plastered, white walls. Next to them, original
early XXth century furniture pieces remind one of the
interests of the persons working here.
Vlad Gaivoronschi
The text has been previously published in «Arhitext», no. 9-10/2004
(Translation: Claudia Rada)
 Amenajare Sediu Proiectare Andreescu & Gaivoronschi

½43¹

Autor / Author: Arh. / Arch. Vlad Gaivoronschi Colaboratori / Collaborators: Arh. / Arch. Ioan Andreescu, Arh. / Arch.
Marius Hårja, Arh. / Arch. C`t`lin Bocan, Arh. / Arch. Drago[ Bocan (releveu mapping), Arh. / Arch. Maja B`ldea, Arh. /
Arch. Costin {elariu (urm`rire [antier on-site construction superviser) Rezisten]` / Structural Engineering: Ing. / Eng.
Victor Gioncu, Ing. / Eng. Marius Mo[oarc` Instala]ii \nc`lzire – climatizare / HVAC Engineering: Ing. / Eng. C`t`lin Bojan
Instala]ii electrice / Wiring: Ing. / Eng. Mihai Fara Antreprenori / General Contractors: S.C. Castrum Tim S.R.L., S.C. Star
Instal S.R.L., S.C. Electroinstal S.R.L. Loca]ie / Location: Timi[oara; Construc]ie Construction: 2002 Fotografii /
Photographs: Ioan Andreescu, Vlad Gaivoronschi
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½44¹
Plan / Plan
Bijuteria «GOLD TIM»
«GOLD TIM» Jewelry Store
Aceasta a fost lucrarea de debut pentru noi ca arhitec]i
independen]i, desprin[i de Institutul de Proiectare.
Problemele puse de aceast` amenajare interioar` [i
exterioar` nu au fost deloc u[oare. Pe de o parte, din
punct de vedere func]ional, a acomoda \ntr-un spa]iu
restråns atåt spa]iul de vånzare, cåt [i atelierul
bijutierilor, pe de alt` parte realizarea unei interven]ii la
nivelul str`zii Alba Iulia – poate cea mai important` [i
unic` strad` pietonal` comercial` din ora[ (fragment de
«Lipscani» timi[orean). Men]ion`m c` aceast` strad` se
afl` \n zona de rezerva]ie de arhitectur` a Cet`]ii, legånd
Pia]a Libert`]ii constituit` \n secolul al XVIII-lea, cu Pia]a
Victoriei (Operei) constituit` la finele secolului al XIX-lea
[i \nceputul secolului al XX-lea, amåndou` pietonale.
|nainte, aici exista un mic magazin de \nc`l]`minte,
parterul acestei case de secol XIX, pe structur` de zid`rie
de c`r`mid`, fiind transformat \nc` din anii ’60, \ntreaga
This was our debut effort as architects working independently
from the Design Institute. These indoor and outdoor
arrangement works have been far from painless. On the one
hand, it was difficult in functional terms, namely, to
accommodate in a confined area both the selling space and
the jewelers’ workshop; on the other hand, the achievement of
an intervention in Alba Iulia Street – maybe the sole most
important pedestrian and commercial street in the city, a
true piece of Lipscani in the midst of Timisioara – was quite
challenging. Please note that such street lies in the reserve
area of the Fortified Town, and connects Libert`]ii Square,
constructed in the XVIIIth century, with Victoriei (Operei)
Square, constructed at the end of the XIXth and early XXth
century, both of them, pedestrian areas.
This place was formerly occupied by a small shoe store;
however, the ground floor of this 19th century house, propped
by brick masonry, was transformed as early as the ’60s, when
fa]ad` la strad` sprijinind pe stålpi [i grinzi de beton
armat.
|n locul acestei transparen]e existente, clientul a solicitat
o solu]ie cåt mai blindat` c`tre strad`. O prim` variant`,
«minimalist`», care p`stra spa]iul de vånzare \n totalitate
la strad` [i atelierul \n spate nu a convenit clientului mai
ales din motive func]ionale, dorindu-se un alt raport \ntre
suprafa]a spa]iului de vånzare [i de atelier, \n favoarea
atelierului. |n acest fel s-a ajuns la un spa]iu de vånzare
mai intim, dezvoltat \n adåncime, separåndu-se astfel [i
biroul directorului de spa]iul mare al atelierului.
Am preferat, [i la solicitarea clientului, o solu]ie care s`
ias` din anonimatul general, contrastant`, \n locul unei
reiter`ri aproximative a vechiului parter sau de vreo
jalnic` pasti[` istoric`.
Vlad Gaivoronschi
Text publicat anterior \n Catalogul Bienalei de Arhitectur` Bucure[ti 1994
the entire street façade was provided with pillars and beams
of reinforced steel.
Instead of the existing transparency, the client requested that
the structure facing the street be as armored as possible. A
first «minimalist» version, which kept the selling space
positioned so as to look toward the street, and the workshop,
in the back, was not to the client’s liking, particularly on
functional grounds. What the client wanted was another
relation between the selling space area and the workshop, in
favor of the latter. Thus, a deep, more intimate selling space
took shape, also enabling a separation of the manager’s office
from the large workshop area.
We have preferred, together with the client, to identify a
solution which would escape and contrast with the
surrounding anonymity, instead of an approximate re-
iteration of the former ground floor or a pathetic historical
pastiche.
Vlad Gaivoronschi
The text has been previously published in
The Catalogue of The Bucharest Biennale 1994
(Translation: Claudia Rada)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½46¹

Desf`[urare de front / Unfolded view

Axonometrie / Axonometric view

 Bijuteria «GOLD TIM»

½47¹

Autori / Authors: Arh. / Arch. Ioan Andreescu, Arh. / Arch. Vlad Gaivoronschi, Arh. / Arch.
Ioan Trif Antreprenor / General Contractor: PRIMACONSTRUCT Timi[oara Beneficiar /
Beneficiary: GOLD TIM S.R.L. Loca]ie / Location: Timi[oara Construc]ie / Construction:
1990-1991 Fotografii / Photographs: Ioan Andreescu, Vlad Gaivoronschi
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½48¹
Plan de situa]ie / Site plan
Pia]a Badea Cår]an
Badea Cår]an Market
P`strånd, la prima vedere numai o banal` acoperire a
unei pie]e de 4000 mp, acest proiect ascunde anumite
semnifica]ii deosebite. |n primul rånd, el are o
semnifica]ie politic` legat` de faptul c` a fost gåndit ca
un gest de sus]inere arhitectural` dat` noilor autorit`]i
locale, care apar]ineau opozi]iei. Astfel, el s-a constituit
\ntr-o revolt` fa]` de vederile meschine referitoare la
investi]iile urbane, \ntr-un refuz fa]` de pragmatismul
\ngust care s-ar fi mul]umit cu o solu]ie func]ional`
standard, compromi]ånd astfel un spa]iu urban pre]ios
[i cu o alt` voca]ie. Aici intervine adev`rata
semnifica]ie arhitectural` a proiectului, care se refer` la
voin]a de reabilitare a acestui sit, vechea pia]` de fån a
ora[ului. Aceasta este m`rginit` pe laturile lungi de
fronturi valoroase de secol XVIII, recent restaurate,
fiind amplasat` pe un traseu pietonal important, \ntr-o
zon` relativ dens construit`. De aceea, acoperirea pie]ei
a fost gåndit` s` devin` un fel de primitor dar, non-
Apparently an ordinary covering of a 4000 sq.m area, this
project hides certain specific meanings. First of all,
politically speaking, the project was intended to
architecturally support the new local authorities’
opposition to the inherited obsolete petty views concerning
the urban investments drive. It was a refusal of the narrow
pragmatic interests, which would have been pleased with
just a functional standard solution, thus risking to
compromise a precious urban space endowed with a richer
vocation.
Here comes the real architectural meaning of the project,
which deals with the wish to rehabilitate this site, the old
hay-market of Timi[oara, placed on an important
pedestrian route, in a rather densely built neighborhood,
bordered by architecturally valuable 18th century streets
fronts on the two sides, recently restored. Therefore, this
covering was meant to become a kind of non-definitive
inviting container of the urban changeable event: daily
Schi]` realizata de Romi Adam / Sketch by Romi Adam
definitiv, container al evenimentului urban
schimb`tor: tårg zilnic, expozi]ie ocazional` de produse
[i obiecte agricole, s`rb`tori populare, concerte rock
etc., r`spunzånd totodat` [i cerin]elor imediate de
igienizare a pie]ei existente. Dar, mai mult decåt orice,
proiectul a devenit o uria[` camer` urban`, definit`
atåt de cele dou` fronturi vechi, delicat ritmate, care
reverbereaz` printre liniile de for]` ale structurii
metalice [i unduirea acoperirii, cåt [i de contrastul
delicat dintre lumina cald`, difuz filtrat` de pånza
\nvelitorii [i lumina crud` care cade pe vechile fronturi
pestri]e. Trebuie subliniat c` inten]iile promo]ionale
care au \nso]it acest gen arhitectural nu ar fi fost
niciodat` posibile f`r` \ndr`zneala inginerului Victor
Gioncu, deoarece o astfel de structur` nu a fost ridicat`
pån` acum \n Romånia.
Ana Maria Zahariade
«Echilibru uitat» 1991 – Timi[oara – 1996. Prezen]e ale trecutului
market, occasional trade exhibitions of agricultural
products and farming tools, popular feasts, rock concerts,
etc., certainly responding to the commissioner’s
requirements. But, most of all, the project became a huge
urban room, defined by the two old, delicately rhythmed
street-fronts reverberating through the strength of the
metallic structure and the winding curve of the covering, as
well as by the delicate contrast between the constantly
diffused, warm light filtered through the tent and the
genuine, moving sunlight which falls on the variegated old
façades.
It has to be emphasized that the promotional intentions of
this architectural gesture would have never been possible
without the courage of the civil engineer Victor Gioncu,
since this kind of structure has never been erected in
Romania before.
Ana Maria Zahariade
«Forgotten Balance» 1991 – Timi[oara – 1996. Emerging voices from the past
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½52¹
 Pia]a Badea Cår]an

½53¹

Sec]iune transversal` / Cross section

 Pia]a Badea Cår]an

½55¹

Sec]iune longitudinal` / Longitudinal section

Plan \nvelitoare / Roof plan

Plan parter / Ground floor plan

Autori / Authors: Arh. / Arch. Ioan Andreescu, Arh. / Arch. Vlad Gaivoronschi, Arh. / Arch. Adrian Iona[iu
Colaboratori / Collaborators: Arh. / Arch. Carmen Calance, Arh. / Arch. Beatrice Lucaci Rezisten]` / Structural
Engineering: Structur` metalic` / Metal structure: Ing. / Eng. Victor Gioncu Infrastructur` [i hal` de lapte-carne /
Infrastructure and milk and meat market house: Ing. / Eng. Victor V`caru Membran` Textil` / Textile Membrane:
Ing. / Eng. Horst Dûrr, Ing. / Eng. Reiner Essrich (Germania / Germany) Instala]ii ap` / Canal Plumbing: Ing. / Eng.
Nacov Vichente Instala]ii electrice / Wiring: Ing. / Eng. Emil Cornea Beneficiar / Beneficiary: Consiliul local al
Municipiului Timi[oara / Timi[oara Local Council Loca]ie / Location: Timi[oara Construc]ie / Construction: 1994-
1996 Fotografii / Photographs: Ioan Andreescu, Vlad Gaivoronschi, Mihai Botescu
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½56¹

Plan de situa]ie / Site plan

Hotel Reghina
Reghina Hotel

Hotelul Reghina reprezint` pentru arhitec]ii Ioan
Andreescu [i Vlad Gaivoronschi o nou` tem` de
investiga]ie a programului hotelier [i a c`ilor de urmat
\n rezolvarea unui asemenea obiectiv \n condi]iile
impuse de teren [i, mai ales aici, de dimensiunile destul
de reduse ale lui. Situat destul de excentric fa]` de gar`
sau aeroport, construit pe o parcel` restråns` ca
Reghina Hotel represents for architects Ioan Andreescu and
Vlad Gaivoronschi a new theme for the investigation of the
hotel program and of the approaches which may be taken
to meet such a challenge, given the conditions imposed by
the land, and, in particular, its relatively small dimensions.
Located rather far from both the railway station and the
airport, constructed on an undersized plot, in the

dimensiuni, \ntr-o zon` imediat \nvecinat` stadionului,
Hotelul Reghina se va dovedi o reu[it` investi]ie [i, \n
acela[i timp, un proiect reu[it, care va fi remarcat \n
anul 1998, cånd va fi prezentat la Bienala de Arhitectur`
din Bucure[ti [i va primi Premiul special al revistei
«Arhitext Design» anul urm`tor.
Exploatånd situarea sa pe o parcel` de col], extrem de
Hotel Reghina
½57¹
immediate vicinity of the stadium, Reghina Hotel will
prove to have been a good investment and at the same
time a successful project, and will be noticed in 1998, when
it will be presented at the Bucharest Architecture Biennale
and will receive the special prize of «Arhitext Design»
magazine the following year.
Making use of its location on a corner spot clearly visible
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½58¹
Sec]iune / Section
vizibil` de pe artera principal`, arhitec]ii hot`r`sc o
abordare clasic`, o cl`dire \n form` de L cu aripi aproape
egale, articulat` [i marcat` pe zona de schimbare a
direc]iei de un turn cilindric, a c`rui masivitate trebuia
atenuat` prin folosirea unui material transparent [i a
unor reflectoare, care urmau s` fie amplasate \n
continuarea stålpilor, care s` marcheze \n noapte [i s`
prelungeasc` acest obiect semnal. Imaginea clasic` a
imobilului dat` de turnul de col] [i de ritmica sacadat`
[i ra]ional` a golurilor – la etaj ferestre \nalte fran]uze[ti
[i la parter ferestre cu deschideri mai mari, dar \n care
ritmul vertical de la etaj este preluat printr-un fel de
mici bovindouri – este \ntrucåtva atenuat` de nivelul
ultim, \n \ntregime vitrat [i de mici accente pres`rate
peste tot, copertina de intrare fiind unul din acestea.
Copertina \ns` poate fi citit` [i ca o cita]ie la vechile
peroane acoperite cu metal [i sticl`.
Intrarea \n hotel se face, firesc \n situa]ia dat`, prin zona
de inflexiune, pe sub o mare \nvelitoare de sticl`, un loc
care te poate face s` z`bove[ti, \ntr-un hol rotund,
acoperit cu o cupol` \ntoars` pe dos, zugr`vit` \n culori
\nchise [i luminat` de o puzderie de mici l`mpi cu
halogen, asemeni unor stele. Holul face tranzi]ia c`tre
celelalte spa]ii [i c`tre scar`. Amplasat` chiar \n axul
intr`rii \n hotel, scara de acces la etaje este, la råndul ei,
dispus` \ntr-un turn cilindric cu ferestre mici, p`trate,
care genereaz` pe exterior o imagine postmodern`,
articulånd \n curtea din spate cele dou` aripi ale
construc]iei. |n partea dreapt` a intr`rii este amplasat`
recep]ia, \n timp ce pe partea opus` se face intrarea \n
restaurant. |nainte de restaurant a fost pozi]ionat un
from the main avenue, the architects resolved upon a
classical approach, i.e. an articulated, L-shaped building
with almost equal wings, the change of direction of which
was marked by a cylindrical tower. The massiveness of such
tower was to be offset by using a transparent material and
by placing projectors in the continuation of the pillars,
meant to stand out in the night and prolong this signal-
object. The classical image of the building, given by the
corner tower and the rational, cadenced sequence of gaps –
high French windows on the upper floor and windows with
wider openings on the ground floor, which take over the
vertical rhythm from the upper floor and disperse it
through several small bow windows – is somehow
mitigated by the uppermost level, entirely covered with
stained glass, and by small touches scattered everywhere,
such as the entrance cover. However, the entrance cover
may also be interpreted as a reference to old railroad
platforms, covered with metal and glass.
The entrance to the hotel is naturally made, given the
circumstances, through the curvature area, going under a
large glass cover – a place that can make one linger for a
while – into a round lobby covered with a dome turned
inside out, painted in dark colors and lit by dozens of small
star-like halogen lamps. The lobby makes the transition to
the other spaces and to the staircase. Located right on the
axis of the entrance to the hotel, the staircase ensuring
access to the upper floors is, in its turn, arranged in a
cylindrical tower with small square windows, which create
a post-modern image on the outside, articulating the two
wings of the construction in the back yard. To the right of
the entrance is the reception desk, while the opposite side

Plan parter / Ground floor plan
bar, care, prin forma sa lung` [i diagonal`, de
perspectiv` invers` v`zut dinspre intrare, d` senza]ia
c` \ncetine[te p`trunderea \n sala de consuma]ie.
Efectul de perspectiv` invers` urm`rit, cred, pentru a
limita dimensiuna lung`, destul de ampl` a spa]iului,
este contrazis, oarecum, de amplasarea p`r]ii din spate
a s`lii de consuma]ie cu cåteva trepte mai sus, \n timp
ce folosirea unor decupaje \n tavan, cu rol de «a[ezare»
[i delimitare virtual` a locurilor de stat, \nt`resc
percep]ia ritmic`. Dinamica spa]iului de restaurant [i
bar, diferit` dup` pozi]ia \n care te situezi, este marcat`
\n cele dou` puncte ale sale de rotundul holului de
intrare [i, opus, de peretele «ilustrat» \n culoare de
pictorul Sorin Nicodim.
Camerele de cazare sunt repartizate pe trei nivele
inegale ca tratare a vederilor c`tre exterior, primele
dou` etaje cu ferestrele fran]uze[ti de care pomeneam,
care creeaz` un decupaj vertical, [i al treilea etaj, cu un
bandou orizontal de ferestre, care las` privirea s` lunece
nestingherit`, peste casele \nvecinate, c`tre est [i sud. |n
zona de col] a hotelului sunt amplasate apartamentele
care, prin tratamentul vitrat pån` jos al turnului,
beneficiaz` de o senza]ie unic` de deschidere (alta decåt
privind dinspre afar`, unde, ar trebui spus, probabil c`
efectul de demasivizare al turnului de col] ar fi fost mai
pregnant prin folosirea unui geam clar, neoglindat).
Materialele [i culorile folosite sunt dintre cele mai sobre
[i mai restrånse: alb pentru zugr`veli, alb pentru
holurile [i spa]iile de la parter – \nc`lzite sau r`cite
relativ de tipul de lumin` folosit: neon, halogen sau
incandescent –, negru pentru tåmpl`rii [i p`r]ile de
Hotel Reghina
½59¹
Plan etaj curent / Current floor plan
accommodates the entrance to the restaurant. Right before
entering the restaurant a bar has been positioned, and its
long and diagonal shape, enabling a reverse perspective
when seen from the entrance, seems to slow down the
access to the eating place.
The reverse perspective effect sought, I think, in order to
limit the long, rather ample dimension of the space, is
somehow counteracted by the rear side of the eating room
being placed several steps above the rest, while several cut-
outs in the ceiling, used to «arrange» and virtually delimit
the seating places, strengthen the rhythmical perception.
The dynamics of the restaurant and bar spaces, different
according to the position where one places oneself, is
marked in its two points by the roundness of the entrance
lobby, and, on the opposite side, by the wall colorfully
«illustrated» by painter Sorin Nicodim.
The accommodation rooms are distributed on three levels
approaching differently the outdoor views: the first two
floors are provided with the French windows mentioned
above, creating a vertical cut-out, while the third floor is
provided with a string-course of windows, leaving one’s
look to glide over freely towards the neighboring houses, to
the East and to the South. The corner area of the hotel
shelters the apartments, which benefit, due to the stained
glass wholly covering the tower, from a unique sensation of
opening (different from that experienced when looking
from outside, given that the effect of depriving the corner
tower from its heaviness would have probably been
stronger if a clear, non-mirrored glass had been used).
The materials and colors employed are from among the
most sober and tranquil: white for the wall painting and
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½60¹
metal, alb, negru [i un pic de argintiu pentru scaunele [i
pultul de bar, bejuri naturale pentru pardoseala
parterului [i pentru draperii, culori mai vii pentru
fundalul pictat al s`lii de restaurant.
Surprins \n imagini, la pu]in timp dup` inaugurare, de
arhitectul Mihai Botescu, Hotelul Reghina se dezv`luie
ca un obiect de arhitectur` care-[i tr`deaz` autorii de-
atunci, un obiect precis ritmat [i articulat care-a pierdut
ceva din semnalul cu care urma s` fie investit –
proiectoarele de pe turn, dar a cå[tigat \n schimb o
incitant` belvedere peste ultimul nivel. Imaginea
aceasta extrem de precis` [i aproape clasic`, clasicizat`
[i mai mult de folosirea unui film alb-negru, am
rev`zut-o de curånd (cånd am trecut pe-acolo pentru a
revedea unele detalii pentru articolul de fa]`), pu]in
schimbat`, altfel decåt o [tiam, schimbat` prin ceea ce
se cheam` via]a cu care o cl`dire este investit`, cu
flamuri colorate atårnånd pe belvedere, [i jos, sub
copertina de sticl`, o mare de fani ai fotbalului veni]i de
aiurea, a[teptånd \nceperea unei partide pe stadionul
din apropiere.
Adrian Florin Iona[iu
Text ap`rut ini]ial \n revista «de arhitectur`»
for the ground floor lobbies and spaces – with a sensation
of warmth or coolness depending on the type of light used,
i.e. neon, halogen or incandescent –, black for the carpentry
work and metal parts, white, black and a touch of silver for
the chairs and the bar counter, natural shades of beige for
the flooring on the ground floor and for curtains, livelier
colors for the painted background of the restaurant room.
Captured in images short after its inauguration by
architect Mihai Botescu, Reghina Hotel appears as an
architectural object which betrays its authors, a precisely
articulated object which lost something of its signaling
potential – the projectors meant to equip it – but gained, in
exchange, an exciting belvedere over the uppermost floor.
This extremely accurate, almost classical image, classicized
even more by the use of a black and white film, I have seen
again recently (when I passed by the place to review some
details for this article), a little changed and different from
what I knew it to be, changed as a result of what is usually
called the life which animates a building. It had colored
flags hanging from the belvedere and looked down to a
crowd of football fans come from all over the place, waiting
for a football game to start in the nearby stadium.
Adrian Florin Iona[iu
The text has been previoulsy published in «de arhitectur`» magazine
(Translation: Claudia Rada)
 Hotel Reghina

½61¹

Autori / Authors: Arh. / Arch. Vlad Gaivoronschi, Arh. / Arch. Ioan Andreescu Colaboratori / Collaborators:
Arh. / Arch. Branda Ciprian, Arh. / Arch. Carmen Calance Loca]ie / Location: Timi[oara Construc]ie /
Construction: 1995-1997 Fotografii / Photographs: Ioan Andreescu, Vlad Gaivoronschi, Mihai
Botescu
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½62¹
Agen]ia comercial` [i de rela]ii cu
publicul Romtelecom, Timi[oara
Romtelecom, Timi[oara Commercial
and Public Relations Agency
Lucrarea de reamenajare a parterului cl`dirii Romtelecom,
situat` \n centrul Timi[oarei, \n imediata vecin`tate a
esplanadei Oper` – Catedral`, nu este doar restilizarea unui
spa]iu, ci este reconversia, transformarea aceleia[i func]iuni,
cea de rela]ii cu publicul, \n cadrul unui nou ambient, a unei
noi atmosfere.
De la «ambian]a» de tip ghi[eu – «grani]`» puternic` \ntre
func]ionar [i client – se trece la dematerializarea acesteia sub
imperativul lui «Romtelecom, de la om la om». Se na[te astfel
o altfel de rela]ie, mult mai direct`, mai intim`, punånd noi
The works for the refurbishment of the ground floor of the
Romtelecom building, located in the centre of Timi[oara, in
the immediate vicinity of the Opera House – Cathedral
esplanade are aimed not only at re-stylizing a space, but
also at converting and transforming the same function, i.e.
public relations, within a new ambience and a new
atmosphere.
The ambience forming around the agency’s counter, a firm
boundary between the clerk and the client, is
dematerialized following the slogan «Romtelecom, as from
probleme pentru ambii parteneri pu[i fa]` \n fa]`, cele ale
exers`rii tonului potolit, a dialogului [i bunei cuviin]e.
Celalalt imperativ, «Romtelecom dincolo de cuvinte…»
este interpretat prin generarea unei atmosfere magice, \n
care caracterul dematerializat, minimal, clar-obscur [i
lucios al spa]iului este completat de piesele senzuale ale
sculpturii – pultul [i cele cinci piese de suport telefoane
din spa]iul comercial. Caracterul dual al opera]iei este
\nt`rit de dialectica centrului [i al cojii conform
principiului con]in`torului con]inut, al spa]iului \n spa]iu:
one person to another». Thus, a direct, more intimate
relation is taking shape, raising new challenges for both
partners placed face to face, namely, to employ a poised
tone of voice, to favor dialogue and propriety.
The other slogan – «Romtelecom beyond words…» is
interpreted by generating a magical atmosphere, in which
the dematerialized, minimal, obscure and shiny space is
supplemented by the sensual parts of the sculpture – the
desk and the five telephone support devices in the
commercial space.
MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

Plan / Plan

un spa]iu general mai \ntunecos, ale c`rui margini sunt
definite de rela]ia cu publicul, ad`poste[te \n sånul s`u
un altul, luminos [i transparent, al magazinului de
telefoane. Atmosfera nea[teptat` este \nt`rit` de
«proiectul sonor» (boxe r`spåndite \n spatele tavanului
fals), izvoråt atåt din necesit`]i practice (anun]urile
inerente ale func]ionarei aflate la pultul de recep]ie care
\ntåmpin` clien]ii), dar [i din dorin]a de a conferi o
sonoritate special`, \n armonie cu restul atmosferei. De
aceea, temele dezvoltate de pian [i vibrafon au fost alese
ca un binevenit leit-motiv sonor (Chick Corea [i Gary
Burton – Christal Silence, ECM Records 1971)
Vlad Gaivoronschi
Text ap`rut ini]ial \n «Arhitext», nr. 11/2001
Agen]ia comercial` [i de rela]ii cu publicul Romtelecom, Timi[oara
The dual nature of the operation is strengthened by the
dialectics of the centre and of the shell, according to the
principle of the contained contents, of the space in space: a
general, darker space, the margins of which are defined by
the relationship with the public, shelters in its core another,
lighter and transparent space, of the telephone shop.
The surprising ambience is consolidated by the «sound
project» (loudspeakers placed behind the false ceiling),
which came into being due to practical purposes (the
inherent announcements made by the lady clerk at the
reception desk), as well as from a desire to lend special
sonority, in harmony with the rest of the ambience. For this
reason, the piano and vibraphone themes have been
chosen as a most welcome audible leitmotif (Chick Corea
and Gary Burton – Christal Silence, ECM Records 1971).
Vlad Gaivoronschi
The text has been previoulsy published in «Arhitext», no. 11/2001
(Translation: Claudia Rada)
Autori / Authors: Arh. / Arch. Vlad Gaivoronschi, Arh. / Arch. Ioan Andreescu Colaboratori / Collaborators:
Arh. / Arch. Carmen Calance-Nicorici, Arh. / Arch. Ramona Nicolaescu, Arh. / Arch. Francisc Konig
Sculptur` / Sculpture: Victor Gaga Mobilier de birou / Office furniture: Daniel Stamoreanu Loca]ie /
Location: Timi[oara Data finaliz`rii / Completion date: iunie 2000 / june 2000 Fotografii / Photographs:
Arpad Zachi, Ioan Andreescu, Vlad Gaivoronschi, Octavian Topai
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½68¹
Complexul hotelier Perla
Perla Hotel Complex
Hotelul Perla II
Perla II Hotel
Complexul format din hotelurile Perla II, III [i IV
demareaz` \n anul 1994 prin realizarea unui prim pas, un
hotel discret, ascuns \n spatele caselor [i ale blocurilor de
pe str`zile Sorin Titel, Turgheniev, Evlia Celebi [i, ceva mai
departe, B-dul Victor Babe[. Discret, denotånd o fin`
elegan]` arhitectural` ce-[i trage r`d`cinile din perioada
anilor ’70, ce ne aminte[te prin ritmica fa]adei principale
de cl`direa Borgo House (1974) din Vicenza a lui Carlo
Scarpa, hotelul Perla II a fost prezentat pentru prima dat`
\n expozi]ia romåneasc` de la Bienala de arhitectur` de la
Vene]ia din anul 1996. Am ales pentru a vorbi despre el
The construction of hotel complex composed from Perla II,
III and IV hotels starts in 1994 with the first step, a discreet
hotel, hidden behind the houses and the apartment blocks
standing on the Sorin Titel, Turgheniev, Evlia Celebi Streets
and a little further Victor Babe[ Boulevard. Discreet,
showing a fine architectural elegance rooted in the ’70
period, with the rhythm of the main façade making us
remember of Carlo Scarpa’s Borgo House (1974) in Vicenza,
Perla II hotel was first presented at the 1996 Venice
Biennale, in the Romanian pavilion. We chose to speak
about it the person who presented it in the national

pe cea care l-a prezentat \n catalogul na]ional, doamna
arhitect Ana Maria Zahariade, cu textul pentru acel
eveniment.
«Este o interven]ie foarte special`, pe spa]iul disponibil al
unei parcele care urmeaz` s` fie utilizat` \n viitor pentru
o amenajare mai adecvat` a \mprejmuirii acestui hotel
[ic. De aceea, hotelul este numai primul pas, cel care
stabile[te regula, al interven]iei complexe care urmeaz`
s` se desf`[oare. Cl`direa sintetizeaz`, \ntr-o manier`
lipsit` de ostenta]ie, afinit`]ile celor doi autori, dånd unui
sit problematic un r`spuns sensibil [i rafinat. Scara mic` a
Complexul hotelier Perla
½69¹
catalogue, Ms Ana Maria Zahariade, architect, with the
same text created for the event.
«It’s a very special intervention, on the free space of a
bigger parcel which, in the future, is intended to be used for
a more appropriate arrangement of the surroundings of
this sic hotel.
For this reason, the hotel is only the first step, making the
rules, of a more complex intervention which is due to take
place. The building integrates in a simple manner, the
preferences of both architects, giving a sensible and elegant
answer to a problematic site. The small scale of the
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½70¹

Plan parter, ansamblul hotelurilor Perla II, III, IV / Ground floor plan, Perla II, Plan \nvelitoare, ansamblul hotelurilor Perla II, III, IV / Roof plan Perla
III, IV Hotel Complex II, III, IV Hotel Complex

interven]iei este o replic` dat` vecin`t`]ilor printr-o
compozi]ie pavilionar`, fiind \n acela[i timp [i o
varia]iune pe tema spa]ii servite spa]ii servante lansat`
de Kahn. Astfel, proiectul respect` demersul programatic
propriu autorilor. Nivelul tectonic este remodelat cu
discre]ie, creånd o gr`din` mai coboråt`, care protejeaz`
[i ascunde u[or intrarea. Dezvoltarea principal` a
volumului orizontal de cazare este un alt exerci]iu ritmic
sofisticat, menit s` deghizeze cu m`sur` imaginea
standard de hotel, \n timp ce tema plutitoare a
acoperi[ului este gåndit` de a[a natur` \ncåt s` realizeze
o unificare calm` a \ntregului. Ascuns \n spatele unui bloc
de patru niveluri (singurul acces la parcel` pån` acum),
micul hotel apare ca un discurs modern lipsit de
agresivitate, discret integrat \n zon` [i conferindu-i acel
plus de pre]iozitate care evident \i lipsea.»
Adrian Florin Iona[iu
Complexul hotelier Perla
½71¹
intervention is the answer given to surroundings by a
pavilion composition, in the same time being a variation
on theme of served spaces, serving spaces launched by
Kahn. In this way the project respects the programmatic
intercession inherent to both architects. The tectonic layer
is carefully modeled, creating a lowered garden which
protects and slightly hides the entrance. The main
evolution of the horizontal accommodation volume is yet
an other sophisticated rhythmic exercise, intended to
slightly hide the standard image of a hotel while the
floating roof is considered as an unifying element for the
entire building. Hidden behind a four floor apartment
block (the only access to the site so far), the small hotel
stands as a modern dialogue, lacking aggressivity,
discreetly integrated in the area and adding that extra
primness that was evidently lacking.»
Adrian Florin Iona[iu
(Translation: Livia Ivanovici)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½72¹

Autori / Authors: Arh. / Arch. Ioan Andreescu, Arh. /

Arch. Vlad Gaivoronschi Colaboratori / Collaborators:
Arh. / Arch. Carmen Calance, Arh. / Arch. Marius
Nicorici Loca]ie / Location: Str. Turgheniev, Timi[oara;
Construc]ie / Construction: 1995 – 1997 Fotografii /
Photographs: Ioan Andreescu, Vlad Gaivoronschi,
Mihai Botescu

Plan etaj curent / Current floor plan

Plan parter / Ground floor plan

 Complexul hotelier Perla

½73¹

Sec]iune transversal` / Cross section

Hotelurile Perla III [i Perla V
Perla III and Perla V Hotels
|n anul 1997, Complexul Perla \ncepea s` prind` contur,
nu doar la figurat, ci [i concret, prin realizarea unui al
doilea hotel \n zon`, hotelul Perla III, un hotel mai
restråns din punctul de vedere al mijloacelor folosite – dar
[i al resurselor –, care se a[az` \n frontul de case de pe
Strada Evlia Celebi [i deschide o bre[` – la timpul
realiz`rii lui doar vizual` – c`tre primul hotel al
complexului [i c`tre interiorul cvartalului.
De[i nimic nu o mai tr`deaz`, planul acestui hotel a fost
dictat de existen]a unei case pe parcela a[ezat` la strad`,
pe care proprietarii [i-au dorit s` o p`streze, s` o
supraetajeze [i s` o extind` \ntr-o cl`dire care s`
ad`posteasc` un altfel de hotel, unul bazat pe
apartamente care s` fie \nchiriate pentru o perioad` mai
lung` de timp. Din acest punct de vedere, proiectul
pentru cl`direa hotelului va fi tributar casei ini]iale,
preluånd ritmica sacadat` a golurilor ini]iale, epuråndu-le
de toate artificiile avute, ancadramente, muluri [i altele,
[i creånd o fa]ad` cu un ritm inflexibil, potolit, oarecum,
doar de ultimul nivel, al doilea, \n \ntregime vitrat. Tot din
acest motiv, nivelul de acces se situeaz` pu]in peste
nivelul intr`rii [i peste cel al cur]ii din spate, obligånd la
rezolvarea diferen]ei de nivel prin rampe \nclinate,
procedeu care aduce \ns` un cå[tig ca urmare a marc`rii
intr`rii, care ]inte[te astfel mai focalizat c`tre interiorul
cvartalului [i c`tre primul hotel al acestei serii de trei.
Rezolvarea func]ional` a fost impus` a[adar de existen]a
construc]iei parter care a obligat o dezvoltare asimetric`
cu un corp cu dublu tract c`tre stånga intr`rii [i o bar`
lung` c`tre partea dreapt`, parte care ad`poste[te [i
recep]ia hotelului. Aceast` configurare planimetric` se
In 1997 the Perla Complex was beginning to take shape, not
only as a manner of speaking, but also specifically, through
the construction of a second hotel in the area, the Perla III
Hotel, more unassuming in terms of the means resorted to,
as well as in terms of the resources employed. It was located
on the house front on Evlia Celebi street, but also opened a
break – at the time of its construction, it was only a visual
break – to the first hotel of the complex and to the interior
of the residential sector.
Although nothing betrays it any more, the plan of this
hotel was dictated by the existence of a house which looked
to the street, which the owners wanted to keep, to elevate
by more upper floors and to expand, into a building
sheltering another type of hotel, one based on apartments
rentable for a longer period of time. The hotel building
project will be much indebted therefore to the initial house,
taking over the rhythmical sequence of the initial gaps,
cleaning them of all ornaments, rigid frames, moldings
and others, creating a façade with an inflexible rhythm,
somewhat composed by the second uppermost floor,
entirely covered in glass. For the same reason, the access
level rises a little above the entrance level, forcing a
solution to the level difference by means of inclined ramps,
which procedure has the advantage of marking the
entrance, which thus aims more precisely to the interior of
the residential sector and to the first hotel of this series of
three.
The functional solution was thus imposed by the existence
of the ground floor construction, which compelled an
asymmetrical development with a two-way unit to the left
of the entrance and a long bar to the right, a side which

Plan parter / Ground floor plan
manifest` c`tre intrarea \n incint` ca relativ simetric`,
ascunzånd diferen]a care exist` de fapt [i care produce ca
efect func]ional o mai bun` orientare a apartamentelor
din corpul lung – sud-est \n loc de vest altfel – [i o mai
pronun]at` dinamic` orientat` c`tre centrul cvartalului [i
precedentul Hotel Perla. Reparti]ia camerelor de hotel [i a
apartamentelor respect` asimetria fa]`-spate a cl`dirii,
c`tre strad` fiind orientate camerele de dou` paturi, iar
c`tre curte fiind dispuse apartamentele.
Stilistic, Perla III se diferen]iaz` de precedentul hotel –
subtil inserat \n teren [i cu o fa]ad` extrem de muzical` –
avånd o rigoare a fa]adei [i o simetrie care-l apropie mai
mult de un modernism tårziu.
Construirea \n anul 1998 a acestui hotel, Perla III, a[az` cu
titlu de provizorat un element important al unei strategii
\n curs de cristalizare, aceea de ocupare a unui teritoriu,
care, cu fiecare pietricic` – perl` – pus`, schimb`
obi[nuin]ele [i \nf`]i[area unui pa[nic cartier,
transformånd-i \ncetul cu \ncetul func]iunea sa de baz`.
Poate p`rea pu]in ciudat ca un program sprijinit pe
acelea[i elemente de baz` ca [i programul reziden]ial –
somn, relaxare [i hran` – s` constituie \n fapt un element
«subversiv» pentru zon`.
Ceea ce face diferen]a \ntre programul reziden]ial [i
programul hotelier [i introduce elementul de schimbare
\n zon` o constituie atitudinea diferit` fa]` de loc [i
conven]ii. Hotelul este un loc pe care ]i-l aproprii
temporar, este un nod de schimb, o etap` mai scurt` sau
mai lung` \ntre alte locuri, \ntre alte st`ri, un loc
subversiv prin atitudinea fa]` de timp [i tradi]ii. Hotelul
este un loc care-]i refuz` dorin]a de stabilitate – de
Complexul hotelier Perla
½75¹
shelters the front desk of the hotel. This planimetric
configuration also appears, upon entrance to the premises,
as relatively symmetrical, concealing the actual difference
whose functional effect is better orientation of the
apartments in the long unit– to the South-East instead of
West – and a more powerful dynamics oriented to the
center of the residential sector and to the previous Perla
Hotel. The distribution of the rooms and apartments in the
hotel observes the front-rear asymmetry of the building:
two-bedded rooms look toward the street, while the
apartments look toward the inner yard.
Stylistically, Perla III differentiates itself from the previous
hotel – subtly inserted in the field and with an extremely
musical façade – having a rigorousness of the façade and
symmetry more characteristic of late modernism.
Building this hotel, Perla III, in 1998 meant a provisional
stage in a strategy about to materialize, namely, that of
occupying a territory. Each stone – or pearl – which is being
set changes the customs and appearance of a peaceful
neighborhood, slightly transforming its basic function.
It may seem strange that a program relying on the same
basic elements as the residential program – sleep,
relaxation and food – should actually represent an
undermining element for the area.
What makes the difference between the residential
program and the hotel program and introduces the
element of change in this area is the different attitude
toward the place and conventions. A hotel is a place that
one temporarily grows accustomed to, a crossroad, a
shorter or longer halt before reaching other places or
experiencing new feelings, a subversive place by its
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½76¹
perenitate, mai ales cea impus` de casele tradi]ionale, a[a
cum sunt cele din zon` – [i, dac` o fac, ca unele hoteluri
istorice – prin data de fondare sau personajele ilustre care
le-au str`b`tut – o fac pentru a lini[ti nevoia de stabilitate
a unora din noi, nevoia de certitudini.
Pentru a dovedi c` lucrurile se dezvolt` cu vitez` maxim`
\n aceste zile, un nou venit, Hotel Perla V – sau III bis, nu
[tiu cum ar fi mai corect – a fost construit alipit de
Hotelul Perla III.
Problemele de rezolvat ale acestui nou hotel erau atåt cele
de ordin func]ional – rela]ia cu hotelul de al`turi –, cåt [i
cele de ordin compozi]ional – Perla III avånd o simetrie
destul de accentuat` [i o \n`l]ime destul de redus`, cel
pu]in fa]` de blocul P+4 din dreapta lui. Solu]ia aleas`
pentru a rezolva cele dou` probleme a fost aceea a unui
construc]ii cu un regim de \n`l]ime parter [i trei nivele,
din care ultimul asem`n`tor hotelului de care se alipe[te,
cu o retragere general` \nchis` \n sticl`, precum [i
introducerea culorii pe ambele hoteluri, lucru ce ar
rezolva astfel diferen]ele stilistice dictate de programul
u[or diferit [i mai ales diferen]a de ani, turnåndu-le \ntr-
un tot unitar, compozi]ia rezultat` prezentåndu-se sub
forma unui joc de volume primare vopsite \n culori
primare. Din punct de vedere func]ional, a[a cum se
poate observa [i din planurile celor dou` hoteluri, s-a
proiectat o legare func]ional` nu doar la nivelul parterul,
ci [i la celelalte niveluri.
{i din punctul de vedere al publicului ]int` se poate spune
c` cele dou` hoteluri \nvecinate se aseam`n`, fiecare
dintre ele fiind proiectate \ntr-un melanj de camere de
dou` paturi [i apartamente de dou` sau trei \nc`peri, cu o
focalizare special pe acestea \n solu]ia de fa]`, fiind
dedicate a[adar pentru clien]i care-[i propun s` petreac`
mai mult timp [i doresc s` beneficieze de tot confortul
unei locuin]e, combinat \ns` cu restul serviciilor hoteliere.
De fapt, orientarea c`tre acest tip de public nu este nici
\ntåmpl`toare [i nici hazardat`, \n Timi[oara ap`rånd \n
ultimii ani o categorie aparte de str`ini care-[i petrec
attitude to time and traditions. A hotel is a place which
denies one’s desire for stability and permanence,
particularly imposed by traditional houses, such as those
in the area –and if some of them, for instance, historical
hotels, choose to specify their foundation date or the
illustrious persons whom they hosted, they do so because
they are trying to satisfy the need for stability and
certainty felt by some of us.
In order to prove that things are evolving at maximum
speed these days, a newly-arrived building, Perla V Hotel –
or III bis, I don’t know what would be more appropriate to
call it–, was attached to Perla III Hotel.
The issues raised by this new hotel were both functional –
the relation with the adjoining hotel – and compositional,
Perla III having rather strong symmetry and a small
elevation, at least when compared to the P+4 block on its
right. The solution chosen to solve the two problems was to
construct a building with a ground floor and three floors,
the uppermost of which was to resemble the hotel to which
it was adjacent, with a receding glass structure and
identical color for both hotels. This solution would solve the
stylistic discrepancies dictated by the slightly differing
programs and particularly by the year gap, and would lead
to a consistent whole, the resulting composition appearing
like a play of primary volumes painted in primary colors. A
functional link was achieved, as it can be noticed from the
plans of the two hotels, not only at the level of the ground
floor, but also at the other levels.
One could say that the two hotels also resemble one
another as far as the target clientele is concerned. Each of
them was designed as a mixture of two-bed rooms and
two– or three-room apartments, particularly focused on
the latter, being thus meant for clients who intend to spend
more time and wish to enjoy all the comfort of a dwelling,
combined, however, with the rest of the hotel services.
In fact, the orientation on the public is neither accidental,
nor far-fetched. A special category of foreign visitors has
made its appearance in Timi[oara in the latest years, who
 Complexul hotelier Perla

½77¹

mult timp \n acest ora[, str`ini pentru care a ap`rut [i o
nou` categorie de oferte de sejur, reprezentat` de
apartamente de bloc amenajate peste standardul
obi[nuit, combinat` cu unele servici asemeni celor
hoteliere. Din acest punct de vedere, Hotelul Perla III [i
extinderea sa (Perla V) acoper` aceast` ni[` de pia]` [i
poate \ntåmplarea (fericit`) a f`cut ca ele s` fie amplasate
pe o strad` care combin` construc]ii de blocuri [i case.
Din punctul de vedere al schemei func]ionale folosite se
poate observa dispunerea de camere de dou` paturi pe
primul nivel [i apartamente, chiar \n sistem duplex, pe
ultimele dou` etaje, cel superior fiind un interesant
penthouse. De men]ionat la apartamentele de la etajele 2
[i 3, gåndite \n sistem duplex, este aten]ia aparte de care
au beneficiat \n proiect dormitoarele din penthouse, unde
patul este urcat pe un fel de soclu \n care se \ncastreaz` [i
o cad` de baie cu jacuzzi.
Din punct de vedere compozi]ional [i estetic se poate
remarca folosirea de goluri mai ample decåt la Perla III,
dar [i deschiderea optic` a parterului rezultat` din
folosirea sticlei, lucru imposibil la precedentul hotel,
construit pe o cas` parter existent`. De asemenea, se
poate observa [i utilizarea unui concept diferit de
precedentul hotel, cel de macro-elemente combinate
\ntr-un joc de volume primare vopsite \n culorile de baz`.
Adrian Florin Iona[iu
tend to spend more time in this city and who determined
the appearance of many long-stay offers, putting forward
accommodation in apartments located in blocks of flats,
providing above standard conditions and offering certain
hotel-like services. From this point of view, Perla III Hotel
and its expansion (Perla V) cover this market niche and
maybe a (happy) chance made it so that they are located
on a street which combines constructions of blocks of flats
and houses.
Considering the functional scheme used, one notices the
arrangement of twin rooms on the first floor and of
apartments, including duplex ones, on the two upper
floors, the uppermost being in fact a most interesting
penthouse. With respect to the duplex apartments located
on the 2nd and 3rd floors, one can easily notice the special
attention paid to the penthouse bedrooms, where the bed is
mounted on a sort of plinth also incorporating a bathtub
with jacuzzi.
In compositional and aesthetic terms, one notices the use of
gaps more ample than in the case of Perla III Hotel, but also
the optical opening of the ground floor, resulting from the
use of glass, which was impossible in the case of the
previous hotel, built on an already existing one-floor house.
One can equally notice the use of a concept different from
that of the previous hotel, i.e. macro-elements mingled in a
play of primary volumes, and painted in the basic colors.
Adrian Florin Iona[iu
(Translation: Claudia Rada)

Hotel Perla III

Autori / Authors: Arh. / Arch. Ioan Andreescu, Arh. / Arch. Vlad Gaivoronschi Colaboratori /
Collaborators: Arh. / Arch. Gabriela B`rbu]` Loca]ie / Location: Str. Turgheniev, Timi[oara
Construc]ie / Construction: 1997 Fotografii / Photographs: Vlad Gaivoronschi

Hotel Perla V
Autor / Author: Arh. / Arch. Vlad Gaivoronschi Colaboratori / Collaborators: Arh. / Arch. Oana Sårbu
Loca]ie / Location: Str. Turgheniev, Timi[oara Construc]ie / Construction: 2002
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½78¹
Hotelul Perla IV
Perla IV Hotel
Complexul Perla \ncepe s`-[i defineasc` \nf`]i[area – [i
\ntreg perimetrul – prin construc]ia hotelului Perla IV,
a[ezat pe strada Turgheniev, \n locul unor imobile parter.
Hotelul deschide accesul auto c`tre interiorul cvartalului
[i de pe strada amintit`, a[ezånd provizoriu \nc` o
pietricic` \n mozaicul acestui complex, rezolvånd o atåt
de necesar` fa]` a \ntregii interven]ii, articulånd [i legånd
totodat` elementele complexului.
Eterogen ca \nf`]i[are – dictat` probabil atåt de
multitudinea perturbatoare a elementelor luate \n calcul,
cåt [i de timpul parcurs de arhitec]i pån` la acest nou
obiectiv [i de afinit`]ile celor doi creatori – hotelul Perla
IV melanjeaz` arhitecturi [i imagini \ntr-un mod care
uneori surprinde, mergånd de la cele de inspira]ie
ra]ionalist-fascist`, \n corpul dinspre curte, trecånd prin
anii ’60, \n partea de intrare spre strad`, c`tre una
nou`zecist` la pasarela de leg`tur` dintre Perla II [i IV.
Conceput sub forma unei construc]ii \n L, hotelul Perla IV
se manifest` c`tre strad` ca un imobil pe pilotis, cu un
ritm al fa]adei amintind de primul imobil al seriei – salbei
–, dar cu ceva mai pu]in` consisten]` ritmic`, o fa]ad`
aproape ca un pod care ritmeaz` vizual cu cel`lalt «pod»,
pasarela care leag` func]ional Perla II de Perla IV. Cele
dou` elemente de la nivelul parterului, un bar pe stånga
[i accesul \n hotel pe dreapta, dep`rtate unele de altele [i
Perla Complex begins to define its appearance – and its
perimeter – with the construction of the Perla IV Hotel
located in Turgheniev Street, in the place of ground floor
on the place of one-floor buildings. The hotel opens the
access of motor vehicles to the residential section and on
the street mentioned above, provisionally setting one more
stone in the mosaic structure of this complex, providing a
most necessary face to the construction works, articulating
and also interweaving the elements of the complex.
With a heterogeneous appearance – dictated probably by
the multitude of elements taken into account and the time
elapsed before the architects started work on this project, as
well as by the the affinities between its two authors – Perla
IV Hotel mixes architectures and imagery in a manner
which sometimes takes one by surprise, from those of a
rationalist-fascist inspiration in the unit facing the yard,
going through the ’60s era in the entrance area which
faces the street, to a ’90s appearance at the corridor
ensuring the link between Perla II and IV.
Conceived in an L-shape, Perla IV Hotel’s street side appears
like a building on a pilotis, with a rhythm of the façade
reminiscent of the first building in the string of buildings,
but with less rhythmical consistency, a façade almost like a
bridge, keeping a visual rhythm with the other «bridge»,
the footboard functionally connecting Perla II and Perla IV.

legate doar printr un portic, deschid atåt accesul auto
c`tre interior, cåt [i privirea c`tre \ntreg ansamblul.
O dat` cu edificarea acestui nou obiect se punea
stringent necesitatea armoniz`rii cu celelalte imobile
deja construite – hotelurile Perla II [i Perla III –, ca [i a
creion`rii – \n fine – unui concept unitar de rezolvare a
complexului. |n ideea aceasta, amplasarea noului corp
\n form` de L cu aripi inegale, cu deschiderea lui larg`
c`tre strad` prin porticul generos s-a f`cut pentru
crearea unui ax lung, paralel cu hotelul Perla II, avånd ca
elemente de interes accesul dinspre ora[ cu intrarea \n
Perla IV, curtea definit` de elementele celor dou`
imobile, unde a fost plantat un mic arbust pentru
echilibrare compozi]ional`, [i zona de recreere cu bazin
[i plaj` \n partea din spate a propiet`]ii, proiectat`, dar
\nc` neexecutat`, un loc care s` \mpleteasc` axul cu cel
]intit de accesul \n hotelul Perla III.
Din punct de vedere func]ional, ultimul hotel venit
adaug` cåteva func]iuni necesare complexului, printre
care cele pentru conferin]e – prin realizarea unei s`li
speciale pentru aceasta, aflat` la parterul aripii dinspre
curte, un loc desenat \n fapt polivalent [i care permite
desf`[urarea multor altor evenimente – [i cele pentru
recreere – bazinul \n curs de execu]ie. Nivelele superioare
au func]iunea obi[nuit` de hotel, singurul element
Complexul hotelier Perla
½79¹
The two ground-floor elements, the bar on the left and the
access way to the hotel on the right, distanced from each
other and linked exclusively by a portico enable the access
of motor vehicles inside, and an all-embracing view of the
building.
This new objective emphasized the pressing necessity of its
harmonization with the other buildings already in place,
i.e. Perla II and Perla III hotels, as well as of finding a
consistent concept for the entire complex. On the basis of
this idea, this new L-shaped building with unequal wings,
with its large opening toward the street through the ample
portico, was located so as to create a long axis parallel to
Perla II Hotel, having as main interest elements the access
from the city with entrance in Perla IV, the yard defined by
the elements of the two buildings where a small shrub was
planted for compositional balance, and the recreation area,
with a swimming-pool and beach area, at the rear of the
property, designed, but not yet constructed, a place where
the axis and the access way to Perla III Hotel intertwine.
From a functional perspective, this latest arrived hotel adds
certain necessary functions to the complex: conference
facilities – by means of a special room located on the
ground-floor of the wing facing the yard, a place with
multiple roles actually, which may host various other
events – and the recreation facilities: the swimming-pool
 Complexul hotelier Perla

½81¹

Plan etaj curent / Current floor plan

Plan parter / Ground floor plan

 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½82¹
special fiind un penthouse a[ezat pe aripa dinspre strad`,
care poate beneficia atåt de o splendid` imagine c`tre
domul catolic, cåt [i o generoas` teras`. Cu ajutorul unei
pasarele din metal [i sticl`, cu o form` aparte fa]` de
context, dispus` \n a[a fel \ncåt s` \ncetineasc`
rostogolirea vizual` c`tre interiorul cur]ii [i s` defineasc`
un spa]iu mai intim – locul dedicat piscinei – se realizeaz`
leg`tura fizic` dintre nivelele diferite ale hotelelor Perla II
[i Perla IV, asiguråndu-se necesara conexiune dintre
func]iuni asemenea, hotelul Perla III fiind pu]in mai
aparte [i, oricum, pu]in prea departe de restul pentru a
forma un tot [i, din acest punct de vedere, r`måne
important` pentru unitatea complexului realizarea \n
totalitate a sistemului de spa]ii verzi [i de recreere, de
platforme [i alte amenaj`ri exterioare.
Spuneam \n paginile precedente c` Hotelul Perla IV face
un lucru extrem de necesar pentru complex, pune bazele
under construction. The upper floors fulfill the ordinary
hotel function, the only special element being a penthouse
located on the wing facing the street, which can benefit
from a splendid image to the catholic dome, and from a
large terrace. By means of a metal and glass footbridge,
with a peculiar shape as compared to the context, placed so
as to slow down the visual slide toward the center of the
yard and to define a more intimate space– the place
reserved to the swimming-pool – a physical connection is
achieved between the different floors of the Perla II and
Perla IV Hotels, also ensuring the necessary connection
between their functions. Perla III Hotel is in fact slightly
more peculiar and too farther away from the rest to form a
whole; from this standpoint, it is important for the unity of
the complex to construct the entire system of green and
recreation areas, of platforms and other exterior
arrangements.
 Complexul hotelier Perla

½83¹

strategiei generale de ocupare a dou` dintre str`zile
cvartalului [i a sistematiz`rii interiorului acestuia, ca [i a
\ntregului complex. {i este mai mult decåt o simpl`
opera]ie de combinare [i armonizare a unor elemente pe
un plan de situa]ie,prin realizarea acestui ultim hotel este
vorba de a modifica \n \ntregime caracterul unei zone
prin transformarea unui cartier eminamente reziden]ial
\ntr-unul de servicii, \n cazul acesta preponderent
hoteliere.
Adrian Florin Iona[iu
Text ap`rut ini]ial \n revista «de arhitectur`» nr. 8/2003
I was saying in the previous pages that Perla IV Hotel does
an extremely necessary thing for the complex, namely it
lays the basis of a general strategy for occupying two of the
streets of the residential section and for planning the
interior thereof and of the entire complex. This is also more
than just a mere operation of combination and
harmonization of some elements on a layout plan, through
the construction of this latest hotel; it actually amounts to
wholly changing the appearance of an area by turning an
essentially residential district into one specialized in
provision of hotel services, in this case.
Adrian Florin Iona[iu
The text has been previoulsy published in «de arhitectur`» magazine
no. 8/2003
(Translation: Claudia Rada)

Autori / Authors: Arh. / Arch. Ioan Andreescu, Arh. / Arch. Vlad Gaivoronschi Colaboratori /
Collaborators: Arh. / Arch. Francisc Konig, Arh. / Arch. Dan Munteanu Loca]ie / Location:
Str. Turgheniev, Timi[oara Construc]ie / Construction: 2000 – 2002 Fotografii / Photographs:
Arpad Zachi, Vlad Gaivoronschi, Octavian Topai
Ioan Andreescu

Cofet`ria «Trandafirul» / Centrul de documentare al Casa Jumanca / Jumanca House

«Trandafirul» Confectionery camerei de comer] / The
Documentation Centre of the
Chamber of Commerce
Hotel Regina Blue / Regina Blue Hotel Star Telefonica / Star Sediu CFR Marf` Timi[oara / Galeria 1 / Gallery 1
Telefonica Headquarters of Timi[oara
CFR Marf` Branch
... Arhitectura de ast`zi tr`ie[te, la råndul s`u – dincolo de
asumarea con[tient` a procesului – din multiplicarea
iconurilor, din delirul fragmentului, din rotunjirea
imaginilor \ntr-o re]ea nesfår[it`... Pån` [i demersurile
minimaliste nu fac decåt s` creasc` poten]ialul
fragment`rii, ad`ugånd gr`un]e de contrast. Paradigm`
reprezentativ` a arhitecturii [i urbanismului cu \ncepere
de la mijlocul secolului al XX-lea, «Disneyland-ul»
propune – la råndul s`u – o extrem de ingenioas`
asamblare de fragmente ale trecutului [i prezentului, un
mozaic sumar [i falsificat al culturilor vechi [i noi, al
miturilor [i profe]iilor populare, \ntr-un parcurs ciclic [i
infinit ca traseu. «Disneyland-ul» nu se multiplic`
permanent doar pe sine, el se amplific` la scara global` \n
cele mai diverse ipostaze: parcuri turistice, shoping mall-
uri, cazinouri, «global containere», centre recreative,
muzee ale [tiin]ei [i tehnicii, expozi]ii mondiale,
comunit`]i «speciale» cum ar fi or`[elele «de basm» de tip
«Celebration» construite chiar de Walt Disney
Corporation. Pån` [i \n «seriosul» cåmp al protec]iei
patrimoniului, asocierile heterodoxe de natural [i
artificial, vechi [i nou, tehnologic [i artistic, antic si
futurist sfår[esc prin a inautentifica \ntregul [i prin a
deschide drumul asocia]iilor inconsistente [i mincinoase.
C`ci esen]a hipertextului \n versiunea sa fizic-arhitectural`
este minciuna, care – a[a cum arat` Baudrillard – st` la
«baza succesului lui Walt Disney, precursor abil al unei
lumi de o promiscuitate radical`». Arhitectura modern` a
stat \nc` de la timpuriile sale \nceputuri sub semnul
c`ut`rii autenticului sub diverse forme: tectonic-
construit, material, social, func]ional [i, \n cele din urm`,
spiritual. Pentru marii mae[trii moderni – Wright, Mies,
Le Corbusier [i Kahn – adev`rul era problema central` a
crea]iei. Opera modern` – imaginat` cåteodat` la
dimensiuni colosale – era \ntotdeauna articulat` finit,
autentic` [i integr`. |n destructurarea actual` a finitului,
unii, precum Alberto Cerritas, v`d \nceputurile unei
«Vårste a Con[tiin]ei Complexit`]ii ... dincolo de Vårsta
Manifestelor». ....
Ioan ANDREESCU
Arhitectura ca hipertext sau
«imaginea» ca moarte a integrit`]ii
… Today’s architecture lives, at its turn – beyond the
conscious assumption of the process – from the
multiplication of icons, from the delirium of the fragment,
from the rounding of images in a never-ending network…
Even the minimalist intercessions manage only to rise the
potential of fragmentation, adding grains of contrast.
Typical paradigm of architecture and urbanism, starting
from the middle of the XXth century, the «Disneyland»
submits – at its turn – an extremely ingenious assembly of
past and present fragments, a fast and false mosaic of old
and new cultures, of popular myths and prophecies in a
cyclic and infinite itinerary.
The «Disneyland» is not only constantly self multiplying, it
is growing at a more global scale, in the most diverse cases:
touristic parks, shopping malls, casinos, «global
containers», recreation centers, science and technic
museums, world exhibitions, «special» communities like
those fairytale cities, like «Celebration», built by Walt
Disney Corporation itself.
Even in the «formal» field of Heritage Patronage, the
heterodox associations of natural and artificial, old and
new, technological and artistic, antique and futurist end up
by privating the whole of its authenticity, and by opening
the way for cheaty and inconsistent connections.
Because the essence of hypertext, in its physique-
architectural version, is the lie, which, as Baudrillard shows
– «is at the base of Walt Disney’s success, clever predecessor
of a radically promiscuous world».
Modern architecture was from its earliest start under the
sign of the search for authenticity under various forms:
built-techtonic, material, social, functional and in the end
spiritual.
For the great modern masters – Wright, Mies, Le Corbusier
and Kahn – the truth was the central problem of creation.
The modern creation – sometimes seen in huge proportions –
was always articulated in a finite way, authentic and
upstanding.
In the contemporary destructuration of the finite element
some, like Alberto Cerritas see the beginnings of an«Age of
The Complexity Conscience... beyond The Age of
Manifestos». …
Ioan Andreescu
Architecture as a hypertext or the
«image» as death of integrity
(Translation: Livia Ivanovici)
Acceptarea deschis` a principiului discontinuit`]ii \n
compozi]ia spa]ial` a ]esutului urban – ceea ce \nseamn`
c` nici criteriile de continuitate formal` neo-tradi]ionale
[i nici cele avansate de modernitatea clasic` [i feluritele
sale neo-avataruri nu mai sunt considerate eficace.
Discontinuitatea stilistic` [i func]ional`, contrastul,
suprapunerea de zone distincte, crearea de micro-
ambiente diversificate \n cadrul «ondula]iei» generale –
acestea sunt cåteva din temele master-planului lui
Koolhaas materializate \ntr-un adev`rat mozaic de
«localiz`ri» distincte – cum ar fi: Pia]a Cinematografului,
Esplanada Teatrului [i anfilada blocurilor turn de pe
malul lacului, Bazinul Interior [i Centrul Cultural,
succesiunea de pie]e [i platforme ale Citadelei centrale
etc. Efectul total – de uria[ colaj – ob]inut prin
suprapuneri de secven]e, siluete [i materiale distincte, a
fost \ncercat pentru prima dat` de Koolhaas \n marele s`u
proiect «Euralille».
Ioan Andreescu
Proiectul Almere Stad
Peisaj artificial [i arhitectur` urban`
Una din aceste \ntreb`ri – ocolit` cu grij` de mai toat`
lumea – este: pe ce se \ntemeiaz` demersul arhitectului,
care este atitudinea intim`, stratul de credin]e care-i
filtreaz` fluxul intui]iilor [i ideilor? C`ci fiecare dintre noi
\n fa]a actului manifest`rii caut` o confirmare, o leg`tur`
cu un strat mai «tare» al realului, o convergen]`…
Privit` sub acest unghi, \ntreaga defilare a doctrinelor [i
\nf`ptuirilor arhitecturale ale secolului XX eviden]iaz` o
polarizare puternic`, o dualitate a punctelor de sprijin ce
aminte[te de disputa «universaliilor»; eterna disput`
\ntre «nominali[ti» [i «reali[ti» \ntrupat` \n divergen]a
\ntre cei pe care i-am putea numi (dincolo de orice alte
clasific`ri) fundamentali[ti [i formali[ti. Din punctul
nostru de vedere, ei ar putea fi grupa]i \n:
– Arhitec]i ce urmeaz` curentele dominante, modele [i
consensurile generale.
– C`ut`tori ai sprijinului public – a[a-zisa arhitectur` a
particip`rii, care-[i \nchipuie c` un dialog extins cu viitorii
locatari este \n sine \nsu[i singura garan]ie a succesului.
– Cei care refolosesc tradi]ii, modele individuale sau
colective \nlocuind, prin alegerea unui model, op]iunea pe
care trebuie s-o fac` singuri.
|n loc de \ncheiere – o ciudat` constatare: deosebirile de
orientare (formalism-fundamentalism) care se reduc de
fapt la acceptarea sau inacceptarea «alterit`]ii» ([i a
identific`rii finale cu ea) nu conduc \n mod necesar la
deosebiri cerute la nivelul operelor construite.
Ioan Andreescu
«|n c`utarea realului» sau ceea ce este continuu \n
manifest`rile arhitecturale ale secolului XX
The opened acceptance of the principle of discontinuity in
the spatial composition of the urban tissue – which means
that neither the neo-traditional criteria of formal
continuity nor those advanced by the modern continuity
and its diverse neo-avatars are considered efficient.
Stylistic and functional discontinuity, the contrast, the
overlapping of distinct zones, the creation of divers micro-
ambients in the context of general «undulation» – these
are a few of the master-plan themes of Koolhaas,
materialized in a true inlaid work of distinct locations –
such as: The Square of the Cinema, Theatre’s Promenade
and the enfilade of the tower blocks placed on the lake
banks, the Inner Pool and the Cultural Centre, the sequence
of squares and platforms of the central Citadel etc.
The total effect – of a huge collage – obtained by
overlapping distinct sequences, silhouettes and materials
had been experimented for the first time by Koolhaas in
his big project «Euralille».
Ioan Andreescu
Almere Stad Project
Artificial Landscape and Urban Architecture
(Translation: Livia Ivanovici)
One of these questions – avoided with care by most of the
people – is: on what is the architectural intercession based,
which is the intimate attitude, the layer of beliefs which
filtrates the flow of intuitions and ideas?
Because each of us, placed in front of the act of display,
searches for a confirmation, a connection with a «harder»
layer of reality, an angle of convergence...
Seen from this angle, the hole parade of the doctrines and
architectural achievements of the XX century, highlights a
strong polarization, a duality of the support points, which
reminds of the «universals’» argument; the never ending
argument between the «nominalists» and the «realists»
interrupted in the divergence between those who we could
name (beyond any other classifications) fundamentalists
and formalists.
From our point of view, they could be grouped in:
– Architect which take up the current styles, models and
general beliefs.
– Seekers of public support – the so-called architecture of
participation, which imagines that an extended dialogue
with the future tenants is in itself the only guarantee of
success.
– Those who reuse traditions, individual or collective
models replacing, by the choice of a model, the choice that
they have to make on their own.
Instead of an epilogue – a strange observation: the
differences of orientation (formalism-fundamentalism)
which are drawn in the end to the acceptance or not of the
«alterity» (and of the final identification with it) don’t
necessarily take the constructed creations to imposed
differences.
Ioan Andreescu
«Searching for The Real» or what is continuous in the
th
architectural display of the XX century.
(Translation: Livia Ivanovici)
½88¹
Cofet`ria «Trandafirul»
«Trandafirul» Confectionery
Situarea – \n plin centru istoric al Timi[oarei, \n cetate,
\ntr-un imobil masiv din sec. XVIII – palatul Dejan.
Supraetajat [i cu fa]ada modificat` la \nceputul sec. XIX,
palatul [i-a p`strat intact` «anatomia»: curte interioar`
cu arcade, fa]ad` simetric` penetrat` de un gang boltit,
dou` mari spa]ii boltite la parter, de-o parte [i de alta a
gangului, segmentate de un mare perete structural.
Cofet`ria ocup` de cåteva decenii spa]iul din stånga
intr`rii.
Principiul abord`rii – reamenajarea acestei cofet`rii, \n
cadrul unui buget extrem de limitat – s-a bazat pe dou`
«nivele» de interven]ie:
– \nt`rirea [i «densificarea» prezen]ei spa]iului istoric ca
element major.
– suprapunerea unor fine elemente contemporane care
\nt`resc defini]ia spa]ial`.
Location – in the historical center of Timi[oara, the fortified
town, in a massive building dating from the 18th century:
the Dejan palace. Superimposed and with a facade altered
in the early 19th century, the palace has fully preserved its
«anatomy»: an inner yard with arches, symmetrical façade
pierced by a vaulted gallery, two large vaulted spaces on
the ground floor, on both sides of the gallery, segmented by
a large structural wall. The confectionery has been
occupying the space on the left of the entrance for several
decades.
The principle of the approach – the refurbishment of this
confectionery – within the limits of a very small budget–
relied on two intervention levels:
– consolidating and «concentrating» the presence of the
historical space as a major element;
– superimposing subtle contemporaneous elements which
strengthen the spatial definition.
1. Spa]iul interior a fost tratat ca o dubl` realitate:
– ca abstrac]ie geometric`; eliberat de toate adi]iile, parti]iile,
decora]iile [i \mbun`t`]irile, redus la cea mai curat`
expresie, tencuit uniform [i zugr`vit \n alb, dezvelindu-[i
toat` for]a puternicei sale defini]ii – bolt`, penetra]ii;
– ca materialitate, carnalitatea ascuns` \n spatele
abstrac]iei. |n acest scop au fost practicate decupaje \n
tencuial`, a fost complet expus peretele de fundal
(peretele gangului), pere]ii unor ni[e [i a fost practicat`
o violent` t`ietur` ascu]it` \n tavan. C`r`mida a fost
cur`]at` atent, c`p`tånd un aspect «carnal».
2. Interven]iile s-au rezumat la cåteva piese
«anatomice» capabile s` «joace» atåt \n registrul
«geometric», cåt [i \n cel organic:
– ecrane din lame metalice la capete filtrånd fie lumina,
fie percep]ia peretelui brut cu r`nile sale eviden]iate de
spoturi tangen]iale;
1. The interior space has been approached as a double
reality:
– as a geometrical abstraction, released from all additions,
partitions, decorations and improvements, reduced to its
cleanest expression, uniformly coated and painted in
white, thus unveiling all the force of its powerful
definition–vault, piercings.
– as a materiality, the flesh concealed behind the
abstraction. To this end, cut-outs were made in the
plaster, the background wall (the wall of the gallery) and
several walls of recesses were completely exposed, and a
violent cut was made in the ceiling. The brick was
carefully cleaned to gain a «flesh-like» appearance.
2. The interventions limited themselves to several anatomic
pieces, capable of «playing» both geometrical and organic
roles:
– screens with metal lamellas on the edges, filtering the
½90¹
– o «tij`» de lumin` ca o pies` dintr-un straniu schelet,
abstract`, dar fireasc` \n trimiterile sale organice
(coaste, ]eap`, etc.) – element direc]ional [i ritmic;
– pardoseal` neagr`, uniform`;
– mici imagini contemporane, sofisticate, ale zonei
istorice, \nr`mate \n metal.
Din p`cate, mobilierul propus – esen]ial [i dematerializat –
nu a putut fi realizat. Mobilierul – conven]ional – existent
a fost l`cuit uniform \n alb, ca [i pere]ii, devenind la
råndu-i o abstrac]ie.
Pe parcursul \ntregii opera]iuni s-au evitat cu grij` orice
rapeluri «stilistice», «istorice» sau «memorabile»
Ioan Andreescu
Text ap`rut ini]ial \n revista «Arhitext» nr. 6/1994
light, or the perception of the rugged wall with its wounds
set off by occasional spots;
– a light «bar» like the piece of a strange skeleton, abstract
but at the same time natural in its organic references (to
ribs, spikes etc.) – a directional, as well as rhythmical
element;
– black uniform flooring;
– small contemporaneous, sophisticated images of the
historical area, framed in metal.
Unfortunately, the proposed furniture– essential and de-
materialized – could not be made. The existing
conventional furniture was uniformly covered in white
varnish, like the walls, becoming an abstraction in its turn.
Throughout the entire operation, any «stylistic», «historical»
or «memorable» references have been carefully avoided.
Ioan Andreescu
The text has been previoulsy published in «Arhitext» Magazine n0. 6/1994
(Translation: Claudia Rada)
 Cofet`ria «Trandafirul»

½91¹

Plan / Plan

Fa]ad` / Facade

Sec]iune longitudinal` / Longitudinal section

Autor / Author: Arh. / Arch. Andreescu Ioan Colaboratori / Collaborators: Arh. / Arch. Beatrice
Lucaci, Arh. / Arch. Marius Micl`u[ Antreprenor / General Contractor: Argent S.R.L. Beneficiar
/ Beneficiary: Cofet`ria «Trandafirul» S.R.L. Loca]ie / Location: Timi[oara Construc]ie /
Construction: 1993; Fotografii / Photographs: Ioan Andreescu
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½92¹
Centrul de documentare al
Camerei de comer]
The Documentation Centre of
the Chamber of Commerce
Detaliu scar` / Stair detail
Este o lucrare de arhitectur` de interior, constånd \n
inser]ia de noi birouri \ntr-un spa]iu existent, cu un
caracter bine definit (galeria unui palat neo-clasic) [i \n
renovarea vechii biblioteci. Natura mai degrab` serial` a
programului a impus un r`spuns ritmic dat unui peisaj
interior cu o schem` ritmic` proprie, un fel de exerci]iu
foarte potrivit afinit`]ilor arhitectului. Dup` p`rerea
autorului, \ntre cele dou` se g`sea o ecua]ie perfect`, deci
nicio ierarhie nu era posibil`, r`månånd numai aspectul
armoniz`rii celor dou` structuri de ordine. |n consecin]`,
substan]a c`ut`rilor sale nu a constat \n subordonarea
fa]` de calit`]ile spa]iului existent, ci \n stabilirea jocului
f`r` ierarhii prevalente dintre masivitatea parti]ion`rii
birourilor [i discre]ia secven]elor neo-clasice.
It is an interior design work, an insertion of new offices into
an existing space with a clearly defined character, i.e. the
gallery of a neo-classical palace and the renewal of the old
library. The serial nature of the program imposed a
rhythmic answer to an architectural interior landscape of
another rhythmic scheme, a kind of exercise perfectly fit
for the personal affinities of the architect. According to the
author’s, it was a perfect equation, hence, no hierarchy was
possible, the only important matter being how to
harmonize the two ordering structures.
Therefore, the substance of his search was not the
subordination to the existing space qualities, but rather the
interplay between the massive partition of the offices and
the discreet sequences of neo-classical details, never
Centrul de documetare al Camerei de comer]

½93¹
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½94¹

Vedere interioar` / Interior view

Plan / Plan
Astfel, el reia \n acest proiect un punct de vedere mai
vechi, datånd din 1985-86: ordinea existent` este un
fundal pentru interven]ia nou`, iar folosirea materialelor
industriale imprim` o nou` schem` ordonatoare peste
care poate s` intervin` spontaneitatea; de aceea,
interven]iile punctuale, cum ar fi sistemul de iluminare,
mobilierul, detaliile decorative reprezint` numai un
pumn de confetti, semnul efemerului \ntr-o tram` stabil`
creat` de primele dou`.
Ana Maria Zahariade
«Echilibru uitat» 1991 – Timi[oara, 1996. Prezen]e ale trecutului
proposing a prevalent hierarchy. Thus he resumed in this
project a former approach, dated 1985-86, clearly
expressing his opinion: the existing order is considered a
background, a backstage, for the main intervention, the
use of industrial materials impresses a new ordering
scheme on whose soil spontaneity may emerge, while the
punctual interventions, such as the artificial lighting
system, the furniture, the few decorative devices, represent
only a confetti throwing, the sign of the ephemeral, within
the more stable frame created by the formers.
Ana Maria Zahariade
«Forgotten Balance» 1991 – Timi[oara, 1996. Emerging voices from the past

Autori / Authors: Arh. / Arch. Ioan Andreescu, Arh. / Arch. Adrian Iona[iu Consultan]i rezisten]` / Structural
Engineering Consultants: Ing. / Eng. Victor Gioncu, Ing. / Eng. Victor Vacaru Loca]ie / Location: Timi[oara
Data finaliz`rii / Completion date: 1993; Fotografii / Photographs: Ioan Andreescu, Mihai Botescu
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½96¹
Casa Jumanca
Jumanca House
Datorit` contextului ingrat – o rezerv` de teren
\nconjurat` de blocuri – [i a parcelei ample, dar
desf`[urate \n adåncime, proiectul casei Jumanca avea
de negociat cu dou` teme dificile:
– manifestarea autonom` a prezen]ei pe un sit haotic;
– capacitatea de a fuziona intim cu propriul s`u teren –
ca o «villa» clasic` – prin stabilirea unei ierarhii spa]iale –
fizice [i simbolice – \ntre «fa]`» [i «spate».
Acestor cerin]e li s-a r`spuns ini]ial prin alegerea unei
dispozi]ii cruciforme – cu un parter transversal care
ocup` toat` l`]imea parcelei [i un etaj longitudinal care
realizeaz` – fizic [i metaforic – rela]ia \ntre cele dou`
p`r]i ale terenului, permi]ånd trecerea pe sub el c`tre
teras` [i gr`din`. Intersec]ia dintre cele dou` volume se
manifest` interior printr-un gol pe dou` niveluri luminat
zenital – care introduce un al treilea ax \n sistemul de
coordonate: cel vertical.
Avem de-a face cu o combina]ie \ntre o compozi]ie
suprematist` [i una palladian` reproducånd matricea
villei Malcontenta. Evolu]ia ulterioar` a proiectului, prin
apari]ia a dou` apartamente laterale la etaj, va accentua
Due to the unfriendly context – a piece of land surrounded by
blocks of flats – and to the appearance of the plot – deep
rather than long – the project of the Jumanca house had to
deal with two difficult themes:
– the autonomous manifestation of the presence on a chaotic
site;
– the capacity to intimately merge with its own plot, like a
classical «villa», by establishing a spatial hierarchy, both
physical and symbolical, between the «front» and the
«rear».
These requirements were originally answered by choosing a
cross-shaped position, with a transversal ground floor which
occupies the entire width of the plot and a longitudinal upper
floor which achieved – both physically and metaphorically-
the relationship between the two parts of the land, enabling
access underneath it towards the terrace and the garden.
The crossroads between the two volumes finds expression
inside the house in a gap on two levels, lit from the zenith –
which inserts a third axis, the vertical one, in the system of
coordinates.
We are dealing with a combination between a supremacist
dimensiunea clasic`, dar – paradoxal – rolul corpului
longitudinal \n organizarea intern` a spa]iului va fi
consolidat prin «golirea» sa par]ial` [i transformarea
\ntr-un «den» – living familial de etaj \n direct` rela]ie
diagonal` – prin golul central – cu desf`[urarea de la
parter.
|n final, cump`rarea unei parcele adiacente a dus la
posibilitatea articul`rii laterale a marii terase dinspre
gr`din` printr-o pergol` shinkelian`. Cele dou` spa]ii
externe – curtea de acces [i gr`dina – vor fi astfel puse \n
comunicare [i prin exteriorul casei; gr`dina urmeaz` \n
scurt` vreme a fi organizat` prin contrapunctul \ntre o
tem` liber`, vegetal` (deja plantat`) [i aleile geometrice
minerale care materializeaz` traseele regulatoare ale
casei: o alt` tem` clasic`.
Holul central este nodul spa]ial manifest al casei;
direc]iile sale de expansiune sunt clar exprimate prin
elementele arhitecturii: ritmul stålpilor, alinierea
vertical` a luminatorului, linia grafic` a tavanului.
Scara nu este un element primar al compozi]iei [i – ca
atare – este realizat` oarecum diferit de restul
and a Palladian composition, which reproduces the matrix of
the Malcontenta Villa. The subsequent evolution of the
project through the construction of two side apartments on
the upper floor would emphasize the classical dimension, but
– paradoxically – the role of the longitudinal unit in the
internal organization of the space will be consolidated
through its partial «emptying» and its transformation into a
«den» – a family living-room on the upper floor, positioned
diagonally – through its central gap – from the structures
unfolding on the ground-floor.
Finally, the purchase of an adjoining plot enabled the lateral
expansion of the large terrace facing the garden through a
Schinkelian pergola. The two external spaces – the access yard
and the garden – will be thus joined through the exterior of
the house as well; the garden will be soon organized by means
of a counterpoint between a free vegetal theme (the
vegetation has already been planted) and the mineral
geometrical alleys which materialize the main routes of the
house: another classical theme.
The central lobby is manifestly the spatial core of the house;
its directions of expansion are clearly expressed by the
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½98¹
elementelor: are o «scar`» fin diminuat` \n compara]ie
cu elementele majore (tavan, gol, stålpi, luminator), este
detaliat` pre]ios, rafinat, autonom [i articulat prin
folosirea metalului [i lemnului. Direc]ia ascensional`
este \ns` concordat` cu axul longitudinal \n citirea sa
normativ`: interior-exterior.
Finisajele – atåt cele interioare, cåt [i cele exterioare –
subliniaz` ideea de simplitate, continuitate [i lux:
– o culoare unic`, «mais» – galben papirus – la exterior [i
interior, cu excep]ia apartamentelor laterale, \ns` pe
suporturi de granula]ie diferit`;
– un singur tip de gresie nobil` – piatr` ceramic` –
texturat` natural [i punctat` cu mici inser]ii de piatr`
natural` atåt la parter, cåt [i pe marea teras` din
gr`din`;
– culoarea corpului longitudinal central care «p`trunde»
\n apartamentele laterale.
Rela]ia palladian-suprematist este continuat` \n interior
prin amplasarea cåtorva «prezen]e» de scar` medie
[i/sau mic` care «plutesc» \n spa]iul general, cum ar fi:
architectural elements: the rhythm of the pillars, the vertical
alignment of the skylight, the graphical line of the ceiling.
The staircase is not a primary element of the composition
and, as such, it is somehow differently built from the rest of
the elements: its scale is slightly diminished as compared to
the major elements (ceiling, gap, pillars, and skylight); its
details are precious, refined, autonomous and articulated
through the use of metal and wood. The ascending direction
is however coordinated with the longitudinal axis in its
normative interpretation: from the interior to the exterior.
The finishing – both the interior and the exterior ones –
emphasize the idea of simplicity, continuity and luxury:
– one sole color, «mais» – papyrus yellow – inside and outside,
except for the side apartments, of different granulation
however;
– only one type of premium sandstone– ceramic stone– with
natural texture and strewn with small natural stone
insertions, both on the ground floor and on the large garden
terrace
– the color of the central longitudinal unit which «pierces» the

– «obiectele» care separ` sufrageria de «living»-ul
principal;
– «cadrul» care separ` «den»-ul familial de golul sc`rii;
– «prisma plutitoare» de deasupra patului din dormitorul
matrimonial.
Aceste obiecte sunt randate \n culori vii: albastru, ro[u,
oranj, folosind un material pre]ios: stucco veneziano.
Ca mediu de locuit casa opereaz` dup` un principiu
canonic \ndelung verificat de istorie: un cadru suficient
de generos din punct de vedere spa]ial [i de inteligibil –
\n sens ra]ional – umanist poate suporta altera]ii [i
varia]ii ale stilului de via]` de-a lungul timpului, f`r` a-[i
pierde caracteristicile.
Arhitectura puternic`, fie umanist` [i/sau suprematist`,
\mpreun` cu gestiunea metaforic` a naturii sunt valori
autonome [i vehicule ale separ`rii de context.
Ioan Andreescu
Text ap`rut ini]ial \n «Arhitext» nr. 4/2004
Casa Jumanca
½99¹
side apartments.
The Palladian-supremacist relation is also continued inside
the house, by means of several average and/or small-scale
«presences» which «float» in the general space, such as:
– the «objects» separating the dining-room from the main
«living-room»;
– the «framework» which separates the family «den» from the
staircase gap;
– the «floating prism» above the bed in the matrimonial
bedroom.
Such objects are rendered in lively colors: blue, red and
orange, by using a precious material: stucco veneziano.
As a dwelling place, the house functions on the basis of a
canonical principle well-verified by history: a framework
which is sufficiently generous in terms of space and
sufficiently intelligible from a rational-humanistic
perspective, which can bear lifestyle alterations and
variations over time without losing its characteristics.
Strong architecture, be it humanistic and/or supremacist, and
the metaphorical organization of nature are both
autonomous values and tools serving to separate from the
context.
Ioan Andreescu
The text has been previoulsy published in «Arhitext» no. 4/2004
(Translation: Claudia Rada)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½100¹

Sec]iune transversal` / Cross section

Autor / Author: Arh. / Arch. Ioan Andreescu Colaborator / Collaborator: Arh. / Arch. Francisc König
Rezisten]` / Structural Engineering: Ing. / Eng. Lucia Tårc` Beneficiar / Beneficiary: fam. Jumanca;
Suprafa]a total` construit` / Total Built Area: 520 mp / sqm Construc]ie / Construction: 1998 – 2002;
Fotografii / Photographs: Ioan Andreescu, Octavian Topai
 Casa Jumanca

½101¹

Plan parter / Ground floor plan

 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½102¹

Hotel Reghina Blue

Reghina Blue Hotel

Plan de situa]ie / Site plan


Cåteva considera]ii privind negocierea hotelului
Reghina Blue.
Despre arhitectura «\nc`p`toare»
Una dintre priorit`]ile noastre, \n ultimii ani, a fost
reducerea – pe cåt posibil – a «excesului de
arhitectur`». Credem c` arhitectura \ndepline[te cåteva
func]iuni esen]iale: delimiteaz`, con]ine, deschide,
concentreaz`, ofer`. Nu credem deloc c` arhitectura
este con]inutul, substan]a, prezen]a…
Hotelul albastru a[ezat printre gr`dini, \mbr`cat \n
sticl` [i discrete linii geometrice \ncearc` s` fie cåt mai
pu]in prezent, s` ocupe cåt mai pu]in teren, s` ofere un
fundal [i nu un con]inut.
Hotel Reghina Blue
½103¹
Several considerations concerning the negotiation of the
Reghina Blue Hotel
On «spacious» architecture
One of our priorities during the last years has been the
reduction – as much as possible – of architectural excess.
We believe that architecture fulfils several essential
functions: it delimits, it contains, it opens, it concentrates,
it offers… We do not believe at all that architecture is the
content, the substance, the presence…
The blue hotel placed among gardens, covered in glass and
discrete geometrical lines, strives to be as little present as
possible, to occupy as little ground as possible, to provide
the background and not the content.
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½104¹
Despre elemente…
Oricåt de pu]in plauzibil ar p`rea arhitec]ilor,
elementele universale nu sunt: inoxul, gresia, ghips-
cartonul, etc. Elementele sunt: apa, aerul, focul [i
p`måntul, de cånd e lumea. Unul dintre rolurile
arhitecturii este s`-[i pun` recipientul \n rela]ie cu
elementele. Realizarea acestei conexiuni apar]ine
utilizatorului.
Hotelul Reghina Blue negociaz` cu aerul: este albastru,
diafan, transparent, translucid [i penetrat de curen]ii
de aer. Reflect`, refract`, str`luce[te, prive[te [i exist`
\n aer.
Apa este prezent`, la råndul s`u, peste tot: \n curtea
interioar`, \n bazinul pe[tilor, \n piscina \nconjurat` de
suprafe]e de lemn, \n pic`turile condensate pe
copertinele de sticl`.
P`måntul, rocile, vegeta]ia, lemnul – ca fuziune a
elementelor – sunt [i ele prezente, gata s`
contrabalanseze disolu]ia \n aerul albastru...
Focul este prezent \n chiar inima casei: luminatorul
On elements…
However implausible the architects might find this, the
universal elements are not stainless steel, sandstone or
plasterboard.
The elements are water, air, fire and earth, as early as we
can remember.
One of the roles of architecture is to place its recipient in
relation to the elements. The achievement of such
connection is the user’s responsibility.
The Reghina Blue Hotel negotiates with the air: it is blue,
diaphanous, transparent, translucent and penetrated by
air streams. It reflects, refracts, shines, looks up at the sky
and exists in the air.
In its turn, water is omnipresent: in the inner courtyard, in
the fish basin, in the swimming pool surrounded by
wooden surfaces, in the drops condensed on the glass roofs.
The ground, the rocks, the vegetation, the wood – as a
fusion of elements – all such are equally present, ready to
counterbalance the dissolution in the blue sky.
Fire is present at the very heart of the house: the vertical
 Hotel Reghina Blue

½105¹

Sec]iune transversal` / Cross section

Plan etaj curent / Current floor plan

Plan parter / Ground floor plan

vertical care penetreaz` corpul principal este alc`tuit
din microprisme «Fresnel» care condenseaz` lumina
solar` \n form` concentrat`.
Orele zilei [i varia]ia focului ceresc sunt amplificate \n
interiorul casei, un mod de a sim]i pulsa]ia continu` a
universului.
Despre variabilitatea lucrurilor
Proiectul, a[a cum a fost \ncheiat, nu este cel care a fost
imaginat ini]ial.
De-a lungul \ndelungatei sale elabor`ri, hotelul a
crescut: piscina a devenit mai mare, a ap`rut
«penthouse-ul», s-a definit curtea interioar`, odat` cu
corpul de conferin]e, [i s-a organizat bipolaritatea
compozi]iei \ntre cele dou` ochiuri de ap`. Deschiderea,
\n]elegerea arhitecturii ca margine, limit` [i coaj`, \n
loc de substan]` sau con]inut, precum [i realizarea
rela]iei elementale a u[urat cre[terile casei \n mod
firesc.
Despre rapoarte [i propor]ii
Transparen]` [i variabilitate, disolu]ie [i rela]ie
elemental`; unde este coeren]a?
|n strictul sistem modular, care subåntinde casa ca o
skylight, which pierces the main building, is made up of
Fresnel micro-prisms which condense the sunlight in
concentrated form.
The hours of the day and the changing intensity of the
celestial fire are augmented inside the house, a way of
feeling the continuous throbbing of the universe.
On the unsteadiness of things
The project, as it appears upon completion, is not the one
originally envisaged.
Throughout its laborious construction, the hotel has grown:
the swimming pool has become larger, the penthouse has
taken shape, the inner courtyard was outlined concurrently
with the conference building, and the bipolarity of the
composition organized between the two ponds.
The opening of architecture, its understanding as edge,
limit and shell, and not as substance or content, and the
attainment of the relationship between the elements have
naturally eased the growth of the house.
On reports and proportions
Transparency and unsteadiness, dissolution and
relationship between elements; where is the coherence?
Coherence resides in the strict modular system underlying
urzeal` sau o hårtie milimetric`. Pasul, ritmul, t`ietura
regleaz` totul, de la organizarea ansamblului pån` la
coordonarea detaliilor [i elementelor de finisaj.
|n libertatea formelor se ascunde ordinea precis` a
geometriei, astfel \ncåt putem \n]elege [i ultima
caracteristic` a casei:
Calitatea finis`rii
Toate detaliile, materialele, prezen]ele [i absen]ele sunt
create pentru a sus]ine, suporta [i ad`posti activit`]ile
utilizatorilor [i nu invers. Calitatea materialelor [i
detaliilor, coordonat` prin propor]ii [i standarde,
sus]inut` prin rela]ia cu elementele este un ingredient
al acelui «ambiente» [i «ben essere» atåt de dorite de
consumator [i nicidecum o impunere, o presiune [i o
intruziune a arhitectului.
Cåteodat` mai mult` arhitectur` \nseamn` de fapt mai
pu]in`.
Ioan Andreescu
Text ap`rut ini]ial \n «Arhitext» nr. 3/2005
the house structure like a warp or a scale paper. The pace,
the rhythm, the cut adjust everything, from the
organization of the whole to the coordination of the details
and of the finishing components.
The liberty of the forms actually shelters precise
geometrical order, a trait that enables us to grasp the last
characteristic of the house:
The quality of the finishing
All details and materials, any presence and absence are
created to sustain, to support and to shelter the activities of
the inhabitants, and not the other way round.
The quality of the materials and of the details, coordinated
by proportions and standards, nourished by the
relationship with the elements, is an ingredient of that
«ambiente» and «ben essere» so much sought after by the
consumer, and in no circumstances an imposition, a
pressure and an intrusion on the part of the architect.
Sometimes, less architecture is in fact more.
Ioan Andreescu
The text has been previously published in «Arhitext» no. 3/2005
(Translation: Claudia Rada)
Hotel Reghina Blue

½109¹
Autor / Author: Arh. / Arch. Ioan Andreescu, Arh. / Arch. Dan Munteanu Colaborator /
Collaborator: Arh. / Arch. Dan Munteanu Rezisten]` / Structural Engineering: S.C. Histruct
S.R.L., Ing. / Eng. Victor Gioncu, Ing. / Eng. Ioan Cerghedi Instala]ii / Plumbing: S.C.
Dosetimpex S.R.L., Ing. / Eng. {tefan Duna Instala]ii electrice / Wiring: S.C. DNT S.R.L., Ing.
/ Eng. Gabriel Costea; Suprafa]` teren / Land area: 3134 mp / sqm Suprafa]` la sol /
Ground Area: 1239 mp / sqm Suprafa]a total` construit` / Total Built Area: 4596 mp /
sqm. Loca]ie / Location: Timi[oara Construc]ie / Construction: 2000 – 2002 Fotografii /
Photographs: Ovidiu Mic[a, Tavi Topai
Galeria 1
Gallery 1
Locul [i tema – un sit industrial dezafectat, aflat nu
departe de centrul istoric al Timi[oarei, \n dreptul unei
importante artere de penetra]ie dinspre nord.
Situl, amplu, a fost convertit gradual c`tre utiliz`ri
comerciale prin reconversii sumare – tipice pentru anii ’90 –
ale halelor existente.
Apari]ia \n preajm` a monumentalului «Iulius Mall»
(arhitect Radu Mih`ilescu) a decis grupul de investitori care
de]ine situl industrial s` converteasc` hala principal`, bine
expus` c`tre gira]ia de acces spre centru, \ntr-un centru
comercial, inedit \n Romånia: un «design center»; acesta
urma s` ofere ample suprafe]e de showroom perfect
echipate pentru expunerea spectacular` de mobilier,
decora]iuni, produse de design, totul \n acord cu boom-ul
imobiliar f`r` precedent din ultimii ani.
Hala – destinat` ini]ial proces`rii produselor din carne,
oferea circa 5000 mp pentru fiecare din cele dou` niveluri.
The place and theme – a disused industrial site, not
far from the historic center of Timi[oara, across a major
thoroughfare from the north. The large site was
gradually converted to commercial use through sham
conversions, typical for the 1990s, of the existing halls.
The appearance of the «Iulius Mall» (architect Radu
Mih`ilescu) determined the investors, owners of the
industrial site, to convert the main hall into a
commercial center, of special kind in Romania: a «design
center» with a view to the center; that was supposed to
offer ample show-room areas, perfectly equipped to
exhibit furniture, decorations, design products reflecting
the recent real estate boom.
The hall – initially meant for processing meat, offered
5,000 sqm on each storey. The uniform reinforced
structure of 6x6 m – done in the 1970s – was severely
damaged during a fire and due to the industrial

Structura uniform` din beton armat cu pasul de 6x6 m –
realizat` \n anii ’70 – a fost puternic degradat` de un
incendiu [i de procesele industriale pe care le ad`postea.
Etajul a fost compartimentat \n mod repetat \ntre diferitele
«celule», n`scåndu-se denivel`ri de pån` la 40 cm.
Solu]ia adoptat` – a pornit de la obiectivul ales – realizarea
unei suprafe]e libere de «showroom» echipat` «up-to-
date», \n condi]iile unei structuri deficitare. Structura, aflat`
la limita performan]ei, a fost consolidat` cu få[ii din fibr`
de carbon, pentru a evita cre[terile de gabarit [i greutate.
Patru mari tuburi rigide din beton armat, ad`postind
circula]iile verticale (sc`ri [i ascensoare), utilit`]i [i servicii
au fost distribuite \n traveile laterale, dou` cåte dou`,
precum picioarele unei mese, realizånd rigidizarea
ansamblului, f`r` a fi necesare alte interven]ii. Dou` goluri
ample, acoperite cu luminatoare, au fost practicate \n
plan[eele superioare; unul dintre ele con]ine escalatoarele,
Galeria 1
½113¹
processes it sheltered. The upper floor was
compartmentalized so as the «cells» produced split-levels
of 40 cm. The solution complied with the chosen goal: to
produce free areas for showrooms with the state-of-the
art equipment considering the flawed structure. The
hardly efficient structure was consolidated with carbon
fiber strips to avoid the weight. Four big, rigid reinforced
concrete tubes, sheltering the vertical circulation
(staircase and elevators), utilities, and services – were
distributed in the lateral bays, two by two, like the legs of
a table, thus making the ensemble rigid without further
interventions. Two ample voids, covered with skylights,
were done in the upper floors; one of them contains the
escalators; a fountain focuses the perception of the
space. In the ample false ceiling, there is a massive
«mattress» with installations and equipment for climatic
control, all sorts of cables, power networks, light, security,
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½114¹
Detaliu \nvelitoare / Roofing details
\ntre care o ampl` fåntån` artezian` focalizeaz` percep]ia
spa]iului.
|n amplele tavane false se afl` o «saltea» masiv` de
instala]ii [i echipamente destinate controlului climatic,
cablajelor de tot felul, re]elelor de putere, de iluminat,
securitate [i supraveghere. Plan[eul nivelului superior a
fost egalizat cu beton ultrau[or, avånd agregate din
polistiren, iar \nchiderile laterale din c`r`mid` au fost
\nlocuite cu panouri sandwich.
Codul de bare [i str`lucirea nocturn`
|nchiderile laterale, perforate de nenum`rate instala]ii, au
fost \mbr`cate de o fa]ad` secundar` din få[ii de
policarbonat alb-albastru, organizat` grafic ca un imens
cod de bare – simbol grafic al comer]ului. Fa]ada frontal` –
de acces – este «\mbr`cat`» \ntr-o uria[` structur` metalic`
ro[u-neagr`, pliat` ca un «Z» uria[ a c`rui latur` inferioar`
formeaz` copertina deasupra intr`rii.
Literele luminoase ale logo-ului «plutesc» pe o mare
suprafa]` din plas` dubl` vopsit` \n negru mat. Noaptea,
\ntreg ansamblul se transform` \ntr-un mare lampion
and surveillance. The floor of the upper level was leveled
with light concrete containing polystyrene aggregates,
while the lateral brick closures were replaced by
sandwich panels.
The bar code and night-lights
The lateral closures, pierced by numerous installations,
were draped by a secondary façade of white-blue
polycarbonate strips, graphically organized as an
immense bar code – graphical symbol of commerce. The
front façade – one that ensures the access – is «draped»
in a huge red and black metal structure, shaped like a
gigantic «Z» whose lower side makes the canopy above
the entrance. The luminous letters of the logo «drift» on
a large double net painted in matte black. By night, the
entire ensemble turns into a big Japanese lampion, with
the white-blue panels lit from behind and red letters
floating like some self-contained hieroglyphs against the
nocturnal sky, while their matte background dissolves in
the dark.
japonez, cu panourile alb-albastru luminate din spate [i cu
literele ro[ii plutind ca ni[te hieroglife autonome pe cerul
nocturn, \n timp ce fundalul lor negru mat se dizolv` \n
\ntuneric.
Evolu]ii
Situarea Galeriei 1 \ntre noul «Iulius Mall» [i mai vechile,
dar foarte activele, complexe comerciale de pe strada
Ialomi]a ar fi trebuit s` produc` efecte comerciale
favorabile atåta vreme cåt nici unul, nici celelalte nu sunt
echipate cu mari suprafe]e de showroom tematic, dedicate
mobilierului [i decora]iunii. Pu]in timp \nainte de
inaugurare s-a luat decizia de a compartimenta suprafe]ele
libere \n «celule» de tip «complex comercial». Decizia
proiectan]ilor a fost de a nu afecta nici fizic, nici formal
continuitatea tavanelor echipate, pentru a conserva cvasi-
intacte posibilit`]ile de a reveni la configura]ia original`.
Ioan Andreescu
Fazele unei reconversii industriale
Text ap`rut ini]ial \n «Arhitext» nr. 7/2006
Evolutions
The fact that Gallery 1 is sited between the new «Iulius
Mall» and the older yet active commercial complexes in
Ialomi]a Street, should have led to some favorable
outcomes, considering that none has wide thematic
showroom areas for furniture and decorations. Not long
before inauguration, a decision was taken to
compartmentalize the free areas into «cells» like in a
«commercial complex». However, the designer decided to
spare the physical and formal continuity of the ceilings
and maintain the chance to resort to the original
configuration.
Ioan Andreescu
Stages of Industrial Reconversion
The text has been previously published in «Arhitext» no. 7/2006
(Translation: Magda Teodorescu)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½116¹

Plan etaj / Floor plan

Plan parter / Ground floor plan

Autor / Author: Arh. / Arch. Ioan Andreescu, Arh. / Arch. Dan Munteanu Beneficiar /
Beneficiary: S.C. METALTIM S.A. Loca]ie / Location: Timi[oara, B-dul. Antenei – Calea
Lipovei Construc]ie / Construction: 2002 – 2005 Fotografii / Photographs: Arpad Zachi,
Ioan Andreescu, Ovidiu Mic[a
«Star Telefonica»
«Star Telefonica»
Micul magazin «Star Telefonica» – amplasat \n anul 2006
\n Iulius Mall Timi[oara – a fost produs ca exemplu de
preserie, definind un concept de «branding» pentru o
re]ea de telefonie mobil`. Imaginea unitar` [i u[or de
identificat a cubicului este realizat` printr-o succesiune
uniform` de benzi luminoase [i opace (alb-negru)
amintind de fa]ada loosian` a vilei pentru Josephine
The small shop «Star Telefonica» (2006) was intended as a
prototype for the serial production of similar stores, as part
of a branding strategy for a mobile network provider. The
unity and the striking image of the composition is the result
of the uniform layering of luminous and dark stripes, a
distant homage to the famous façade of Josephine Baker’s
Villa by Adolf Loos. The light, transparent layers serve as
Vedere interioar` / Interior view Plan / Plan
Baker. Spa]iile luminoase servesc pentru expunerea
telefoanelor [i a micilor accesorii. Tavanul, pardoseala [i
marele panou tutelar sunt randate uniform \n r`[in` gri,
\n timp ce piesele de mobilier comercial sunt acoperite cu
furnir ro[cat. Sigla – o constela]ie – apare pe panoul
luminos cu numele re]elei «Star Telefonica»; literele au
fost create special. La realizarea elegantelor detalii de
execu]ie a participat [i fabricantul de mobilier «Green
Forest»; \mpreun` am stabilit modularea ansamblului,
pentru a permite reproducerea sa \n contexte diferite.
Din nefericire, dup` cåteva luni de func]ionare, re]eaua
de telefonie mobil` a renun]at la concept [i apoi, \n 2007,
a \nchis magazinul.
Ioan Andreescu
showcases for the mobile phones and their small
accessories. The floor, ceiling and the panel presenting the
network’s logo are rendered in grey resin; the small
furniture pieces inside the cubicle are rendered in reddish
veneer. The logo – a constellation – shines on the panel
displaying the network’s name; the fonts were specially
created for this purpose only. The furniture manufacturer
«Green Forest» from Timi[oara had a seminal contribution
in establishing the elegant detailing and the modular
partition of the whole.
Several months after the opening, the mobile operator
closed the store and renounced the whole branding idea in
favor for a much simpler concept.
Ioan Andreescu
Vederi interioare / Interior view

Autor / Author: Arh. / Arch. Ioan Andreescu, Arh. / Arch. Marius Hår]a, Arh. / Arch.
Claudiu Toma Loca]ie / Location: Timi[oara, Iulius Mall Data finaliz`rii /
Completion Date: 2006 Fotografii / Photographs: Ovidiu Mic[a
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½122¹
Plan de situa]ie / Site plan
Sediu CFR Marf` Timi[oara
Headquarters of Timi[oara CFR Marf` Branch
Sediul sucursalei Timi[oara CFR Marf` s-a realizat prin
transformarea fostei cantine, construit` \n anii 1960, a
S.C. «Electromotor» S.A.
Organizarea structural` compact` a fostei cantine: 7
travei x 4 deschideri (6x6 m) a condus la o solu]ie bazat`
pe conceptul de utilizare flexibil` [i eficient` a volumului,
\n condi]iile \n care se propune o supraetajare a acestuia
cu o structur` u[oar` de metal, cu acoperi[ \n pant` din
tabl` cutat`.
«Centrul» fizic, func]ional [i climatic al casei este un
«atrium» de 7,50 x 6,20m care avanseaz` prin ultimul
plan[eu al cl`dirii existente ca un corp vitrat, dep`[ind
u[or nivelul supraetajat cu 0,50m. Acest «atrium»
permite iluminarea [i ventilarea natural` a spa]iilor
The headquarters of Timi[oara CFR Marf` Branch was
constructed through the conversion of the former cafeteria
of S.C. «Electromotor» S.A. built in the 1960s.
The compact structural organization of the former
cafeteria consisted of 7 spans x 4 openings (6x6 m) and led
to a solution based on the concept of flexible and efficient
utilization of the volume, with a superimposed metal
structure being put forward, having an inclined roof made
of corrugated plate.
The physical, functional and climatic «centre» of the house
is an «atrium» of 7.50 x 6.20 m which advances through
the last board of the existing building like a glass structure,
going slightly above the upper level by 0.5 m. This «atrium»
enables natural lighting and ventilation of the spaces
Plan parter / Ground floor plan
situate \n centrul compozi]iei la nivelele I [i II, precum [i
accesul facil la nivelul III (supraetajarea). |n «atrium» se
afl` o scar` metalic` cu trepte de sticl` mat` care
organizeaz` rela]ia principal` \ntre etaje. Pere]ii atrium-ului
sunt vitra]i [i consolida]i cu profile metalice formånd un
«tub» structural care permite rigidizarea casei f`r` a mai
recurge la consolid`ri [i contravåntuiri perimetrale. |n
partea superioar` a casei, deasupra ultimului plan[eu de
beton, «atrium»-ul se manifest` ca un pavilion vitrat,
acoperit cu o structur` metalic` u[oar`, placat` cu tabl`
de aluminiu dispus` convex, care permite penetrarea prin
reflexie a luminii la interior; acoperi[ul se prelunge[te
lateral (N-S) pentru umbrire. De-o parte [i de alta a
«tubului» central se afl` dou` «buzunare» func]ionale
care se lumineaz` [i ventileaz` prin acesta. La ultimul
nivel, locul acestor buzunare este luat de dou` cur]i
interioare dalate, care permit luminarea [i ventilarea
generoas` atåt a «atrium»-ului, cåt [i a spa]iilor perimetrale.
Suprafa]a de pornire a sc`rii plute[te pe o fin` oglind` de
ap` care contribuie – al`turi de plantele aflate \n
located inside the composition, on the Ist and IInd levels, as
well as easy access to the IIIrd level (the superimposed
level). There is a metal staircase with frosted glass stairs
which organizes the main relationship between the floors.
The walls of the atrium are made of glass sheet and
consolidated with metal profiles, forming a structural
«tube» which strengthens the house, ruling out the need
for consolidation works and perimeter bracing. In the
upper part of the house, over the highest concrete floor, the
«atrium» appears like a vitreous pavilion, covered with a
slight metal structure, wrapped with aluminum plate
arranged convexly, which allows the light to reflect inside
the house; the roof extends laterally (N-S) to provide
shadow. On both sides of the central «tube» there are two
functional «pockets» lit and ventilated by it. On the
uppermost level, the place of such pockets is taken by two
flagstone patios, which allow generous lighting and
ventilation of the atrium and of the perimeter spaces.
The starting portion of the staircase floats on a fine water
mirror which contributes, along with the plants in the
Plan etaj / Floor plan
jardiniere – la \mprosp`tarea aerului. Avånd tiraj la
partea superioar` – prin deschiderea ferestrelor – [i o
oglind` de ap` la partea inferioar`, tubul este un element
activ \n ventilarea [i climatizarea spa]iilor interioare.
De-a lungul perimetrului exterior al casei – \n grosime de
o travee, adic` 6 m, se vor pozi]iona la nivelurile I [i II
principalele spa]ii pentru birouri [i s`li de [edin]e, iar la
nivelul III spa]iile pentru conducere, protocol, camerele de
oaspe]i [i apartamentele de serviciu; aceste spa]ii sunt
iluminate [i ventilate natural prin ferestre verticale
dispuse ritmic (4 ferestre de 90 x 180 m pe travee).
«Coaja» de spa]ii perimetrale este delimitat` spre interior –
la nivelurile I [i II [i par]ial la nivelul III – de un perete cu
dulapuri \nzidite pentru depozit`ri, care este pozi]ionat
astfel \ncåt \ntre el [i peretele perimetral s` existe o
distan]` constant` de 5,60m, astfel \ncåt spa]iile de
birouri pot fi recompartimentate cu pere]i amovibili. |ntre
nucleul interior – format, la nivelurile I [i II, din «atrium»
al`turi de spa]iile anexe, iar la nivelul III din «atrium» [i
cele dou` cur]i interioare – [i «coaja» perimetral` de
flower pots, to refreshing the air. With a draft in the upper
part – through the opening of the windows – and a water
mirror in the lower part, the tube plays an active role in
ventilating and air-conditioning the interior spaces.
Along the exterior perimeter of the house – as thick as a
bay, that is, 6 m – on the Ist and IInd levels, the main
spaces for offices and conference rooms will be positioned,
and on the IIIrd level, the spaces for the management,
protocol, the guest rooms and service apartments; such
spaces are naturally lit and ventilated through vertical
windows arranged rhythmically (4 windows with bays of
90 x 180 m).
The «shell» of perimeter spaces is delimited towards the
interior – on the Ist and IInd levels and partly on the IIIrd
level – by a wall with encased storage cupboards which is
positioned so as to ensure a constant distance of 5.60m
between it and the perimeter wall, so that the office spaces
may be re-partitioned with detachable walls. Between the
interior nucleus – formed on the Ist and IInd levels, of the
«atrium» and its relates spaces, and on the IIIrd level, of the
MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
Sec]iune transversal` / Cross Section
birouri, camere [i apartamente, se afl` un coridor cu
mi[care circular` care realizeaz` leg`tura cu cele dou`
sc`ri de evacuare aflate \n col]urile de NE [i SE ale
cl`dirii.
|nc`perile care corespund la etajele I [i II cu fa]ada
principal` – cu excep]ia celor aferente traveilor de col] –
au o tåmpl`rie comun` de tip «double-glazing» care
const` \n tåmpl`rii normale din podea pån` \n tavan
spre interior [i panouri de sticl` montate neetan[ pe
montan]i de o]el la exterior. |ntre straturi sunt
pozi]ionate jaluzele ac]ionate electric. Acest sistem
permite o excelent` izolare termic` [i o ventilare for]at`
vara, prin efect de ser`, reducånd masiv sarcina termic`
a instala]iilor de climatizare \n aceast` zon` expus`
direct [i neumbrit spre vest, a casei. Acest mare ecran de
sticl` transparent`, situat deasupra intr`rii principale,
ofer` imaginea caracteristic` a casei, care – situat` \ntre
blocuri – se define[te contrastant prin geometria sa
precis`, al`turi de ritmul uniform al ferestrelor [i
panourilor fa]adei ventilate.
Zona central` a fa]adei – organizat` simetric fa]` de
axul intr`rii – este vizibil` de pe strada principal`
General Dragalina; de aici importan]a imaginii frontale
[i a aparatului de intrare. Acesta \mpline[te dou`
func]iuni specifice:
– semnalizeaz` – prin relief [i material (pl`ci de aluminiu
mat) – zona de acces;
– realizeaz` continuitatea dintre exterior [i «nucleul»
casei, prelungind suprafe]ele exterioare \n interior, prin
p`strarea geometriei [i a materialului (pl`ci de
aluminiu) [i orientånd mi[carea c`tre tubul vertical [i
luminos al «atrium»-ului.
Fa]ada ventilat` – a[ezat` pe trei laturi – permite
simultan rezolvarea corect` a problemelor termice ale
«atrium» and the two patios – and the perimeter «shell»
consisting of the offices, rooms and apartments, there is a
circular corridor which achieves the connection between
the two back stairs located in the North-East and Sout-East
corners of the building.
The rooms which look onto the main façade on the Ist and
IInd floors – except for those related to the corner bays –
have an ordinary «double-glazing» joinery which consists
of normal joinery from floor to ceiling and non-sealed glass
panels mounted on steel frames on the exterior. Powered
shutters have been placed between the layers. This system
allows an excellent thermal isolation and forced
ventilation in summer, through the greenhouse effect,
massively reducing the thermal load on the air-
conditioning system in this area of the house, directly
exposed and which does not receive any shadow. This large
transparent glass screen, located above the main entrance,
offers the characteristic image of the house, which –
located between blocks of flats, as it is – is defines itself by
contrast, through its precise geometry and the uniform
rhythm of the windows and panels of the ventilated
façade.
The central zone of the façade – organized symmetrically
to the axis of the entrance – is visible from the General
Dragalina main street; this explains the importance of the
forefront image and of the entrance objects. The latter
fulfil two specific functions:
– signal – by relief and material (opaque aluminum plates)
– the access area;
– achieve continuity between the exterior and the
«nucleus» of the house, prolonging the external areas to
the inside by maintaining the geometry and the material
(aluminum plates) and orienting the movement toward
the vertical and luminous tube of the «atrium».
 Sediu CFR Marf` Timi[oara

½127¹

Sec]iune longitudinal` / Longitudinal Section

casei (prin stratul aerisit de vat` mineral`), precum [i
ob]inerea unui aspect personalizat al acesteia prin
textura lemnoas` a panourilor sintetice, \n contrast cu
aspectul metalic mat al c`ptu[elilor de goluri executate
din foi de aluminiu brut. Aspectul riguros al fa]adei
organizate vertical, cu placajul s`u lemnos dispus ritmic:
90/ 60/ 90/ 60 cm, \n corela]ie cu modularea interioar`
de 1,50m [i cu \mbin`rile sale elegante ofer` o imagine
contemporan` de calitate care contrasteaz` ne-ostentativ
cu mediul construit proxim.
Regimul de \n`l]ime este P+2, cota ±0.00 fiind stabilit` la
52 cm deasupra terenului sistematizat. Cota la corni[`
este la +12.30m.
Deoarece structura existent` nu are subsol, iar amplasarea
instala]iilor tehnice voluminoase – central` termic`,
chiller-ul instala]iei de climatizare, bazinul cu rezerva de
ap` pentru incendiu etc. – pe suprafa]a ultimului nivel al
cl`dirii existente sau mai sus ar fi dus la m`suri
suplimentare de consolidare, s-a decis pozi]ionarea
acestora \ntr-un Corp tehnic auxiliar, un mic pavilion
aflat la limita de est a få[iei de teren mai late, situate \n
partea de nord a propriet`]ii (6.80 X 4.10m).
Ioan Andreescu
The ventilated façade – positioned on three sides –
concurrently provides a correct solution to the thermal
problems of the house (through the aired layer of mineral
wool) and a customized air through the wooden texture of
synthetic panels, in contrast with the opaque metal
appearance of the gap coverings, lined with sheets of rough
aluminum. The rigorous appearance of the façade,
organized vertically, with its wooden plates arranged
rhythmically, 90/ 60/ 90/ 60 cm, in correlation with the
interior 1.50m modulation and with its elegant
connections, offers a contemporaneous quality image
which delicately contrasts with the built environment in its
proximity.
The elevation regime is P+2, the ±0.00 quota being
established at 52 cm over the systematized plot. The cornice
quota is at +12.30m.
Since the existing structure does not have a basement, and
placing the voluminous technical installations – heating
station, chiller of the air-conditioning system, the reserve
water tank in the case of fire etc. – on the last level of the
existing building would have led to additional
consolidation measures, it was decided that such should be
positioned in an Auxiliary Technical Unit, a small pavilion
located to the East limit of the wider land strip located to
the North of the property (6.80 X 4.10m).

Ioan Andreescu
(Translation: Claudia Rada)

Autor / Author: Arh. / Arch. Ioan Andreescu, Arh. / Arch. Dan Munteanu Colaboratori /
Collaborators: Arh. / Arch. Francisc König, Arh. / Arch. C`t`lina Bocan, Arh. / Arch. Drago[
Bocan, Arh. / Arch. Oana Sårbu, Arh. / Arch. Marius Hår]a Beneficiar / Beneficiary: C`ile
Ferate Romåne / Romanian Rail Roads Loca]ie / Location: str. Gen. Dragalina, nr. 21,
Timi[oara Construc]ie / Construction: 2000 – 2008 Fotografii / Photographs: Ioan
Andreescu, Ovidiu Mic[a
 Vlad Gaivoronschi

Pandora Boutique / Pandora Shop Locuin]` de vacan]`, Casa Bistriceanu / Bistriceanu House Casa Dr. Cioc / Dr. Cioc’s House
R`b`gani / Holiday
Villa, R`b`gani
Locuin]` familial`, Casa Sere Traian / Sere Traian House «City Business Centre» / Casa Po[a / Po[a House Hotel Savoy / Casa Ionescu /
zona C`ii Martirilor / City Business Centre Savoy Hotel Ionescu House
Family dwelling, C`ii
Martirilor District
Arhitecura, \mpreun` cu organizarea spa]iului la scar`
urban` poate fi \n]eleas` ca «art` a locului». Nu putem
uita \ns` c` orice interven]ie \ntr-un sit, chiar [i una
atent`, disturb`, deranjeaz` o ordine deja existent`;
interven]iile \n situri naturale apar]in \n bun` m`sur`
acestei categorii; la fel de bine se poate ameliora, repara o
situa]ie defavorabil`, aceasta fiind situa]ia siturilor
distruse, a celor f`r` caracter. Putem vorbi deci despre
ipostaze diferite ale sitului, \n ora[ sau \n natur`: acesta
poate fi deja «un loc», se poate situa \ntre locuri sau poate
fi un «non-loc», un spa]iu rezidual.
Locul puternic presupune coeren]`, o atmosfer` specific`,
recognoscibil`, caracterizat` de for]a expresiv` a mediului
natural sau construit, cåt [i de natura intrinsec` a
lucrurilor, a materiei. A opera pe un sit cu asemenea
caracteristici puternice ce-l definesc ca loc presupune un
efort de ascultare [i de \n]elegere; locurile merit` a fi
observate, analizate prin prisma genezei, istoriei si
memoriei ce le caracterizeaz` [i se reg`sesc \n structurile
formale [i simbolice [i pot deveni stimuli puternici,
materie bogat` pentru proiectul viitor...
A construi durabil «pe p`månt sub cer» are \n mod cert
conota]ii multiple pentru locuire. O lectur` simbolic`,
fenomenologic`, este important` pentru a \n]elege
valen]ele poetice ale gestului simplu, ale atmosferei
bazice pe care, ca arhitect, ar trebui sa le oferim. Un
cuvånt cheie este probabil «t`cere»; arhitectura devine
«fenomenologie aplicat`», fiind atent` la valen]ele
existen]iale ale tr`irii spa]iului, este vorba despre un
registru al «timpului calificat» ce ]ine de percep]ie, despre
binomul permanen]`/schimbare, de senza]ii de o clip` ce
pot califica un \ntreg, de percep]ia subliminal` a unor
rela]ii subtile...
O lectur` cultural-istoric` are \n vedere pe de o parte
«stratul vernacular», dialectele locale ce genereaz`
caracterul de loc, pe de alt` parte valen]ele de limbaj ce
cap`t` caracterul de stil.
O lectur` armonic` pune \n eviden]` raportul complex
dintre ritmurile locului [i cele ale omului; orientarea [i
caracteristicile numerelor cap`t` semnifica]ii noi, iar «a
pune la propor]ie» este mai mult decåt o op]iune estetic`;
cuvintele cheie sunt fenomenele oscilatorii, emisiile de
form`, orientarea spa]io-temporal` etc. O lectur` mai
tehnic`, a[a cum o reg`sim [i \n Neufert, raporteaz`
reguli clare, cunoscute, ale legilor ecologiei, mecanicii,
geologiei, geobiologiei, chimiei [i astro-fizicii, la procedee
de construire, alegere de materiale, alegeri ale locului de
construc]ie func]ie de energiile telurice ale terenurilor,
magnetism, re]eaua Hartmann etc.
«Medicina habitatului» diferen]iaz` \n aceste condi]ii
locurile bune de cele rele, materialele de construc]ie bune
fa]` de cele rele, amintindu-ne de tradi]ii locale sau
extrem-orientale, pentru care locurile nu sunt spa]ii
abstracte, ci noduri invizibile ale destinului.
Vlad Gaivoronschi
Despre «arta locului»
Architecture together with the arrangement of space on an
urban scale can be understood as «art of the place». We
cannot forget that any intervention on a site, even a
careful one, intrudes, disturbs a pre-existent order;
interventions in natural sites pertain, in a vast proportion,
to this category; an unflattering situation can be improved,
fixed in the same way, this situation belonging to the
destroyed sites, to those lacking the character. So we can
speak about different instances of the site, in the city or in
nature: it can already be a «place», it can be placed
between places, it can be a «non-place» or a residual space.
A powerfull place means coherence, a specific, recognizable
atmosphere, which resides in the power of expression
found in the natural or built environment, and also in the
inherent nature of things and matter. To operate on a site
with such powerful characteristics which define it as place,
means making an effort to listen and understand; places
deserve to be observed, analyzed based on the genesis,
history and memory which characterize them and can be
found in the formal and symbolical structures and can
become powerful stimulants, a rich material for the next
project.
To build sustainable, «on earth under the sky» has by all
means multiple connotations for living.
A symbolic phenomenological reading is important for
understanding the poetic bonds of a simple gesture, of the
basic atmosphere that we, as architects, should offer.
Probably a key word is «silence»; architecture becomes
«applied phenomenology» taking notice of the existential
valences of living a space, its all about a register of
«qualified time» which is linked with perception, about the
duality permanence/change, about feelings of a second
which can qualify a whole, about the subliminal perception
of subtle relations…
A cultural-historical reading takes into account on one
hand «the vernacular layer», local dialects that generate
the genius-loci and on the other hand the language choices
which take the character of style.
A harmonic reading, points out the complex proportion
between local rhythms and those of a man; the orientation
and the characteristic of numbers get new meanings, and
the action of «putting into proportion» is more than an
esthetic option, the key words are oscillating phenomena,
form emissions, time and place orientation, etc…
A more technical reading, as the one we can find in
Neufert, relates clear, known rules of ecological,
mechanical, geological, geobiological, chemistry and astro-
physics laws to the building techniques, the choice of
materials, of construction place based on the telluric
energies of the ground, magnetism, Hartmann network etc.
In this conditions «the medicine of the habitat»
differentiates the good places from the bad places, the good
building materials from the bad ones, remembering us of
the local traditions or of those from the far east, for which
places are not abstract spaces but invisible notes of destiny.
Vlad Gaivoronschi
About «the Art of Place»
(Translation: Livia Ivanovici)
Discursul fenomenologic se refer` la o modalitate
tradi]ional` de raportare a corpului la spa]iu, la dialectica
contrariilor [i la \nsu[irea spa]iului prin asimilarea
acestuia propriului corp; spa]iul ra]ionalizat (al
Rena[terii) presupune acest criteriu al similitudinii
mediat prin intermediul propor]iei geometrice, \n timp ce
spa]iul tr`it al fenomenologicului apar]ine unui corp
organic senzitiv ce se supune unor matrici psihologice
specifice caracterului dual al spiritului uman. |n condi]iile
extinderii (dilat`rii) corporalit`]ii, a planului liber, a
flexibilit`]ii, etc. rela]ia elevat-\nr`d`cinat cap`t`
valen]ele noi ale structurilor aeriene, desprinse de sol
(high-tech), \n antitez` cu cele «grele», \nr`d`cinate (din
beton aparent sau din piatr`); raportul pivni]`-pod se
dilueaz` [i este substituit de spa]iul oblic, dinamic,
traseul de mi[care devenind mai important decåt cele
dou` locuri opuse. |n momentul \n care modelul corporal,
ra]ionalizat sau senzitiv este \nlocuit cu unul post-organic
nongravita]ional, hibridizat, interfa]a instabil` \ntre ego
[i lume, real [i imaginar, \ntre proiect [i realitate,
valen]ele podului [i beciului se dizolv`. Arhitectura
devine fluid`, dematerializat` [i mai ales dezr`d`cinat`...
Noul model nu mai este cel antropomorf, ci unul ce
genereaz` arhitecturi nea[teptate, nem`surate [i
viscerale, teritoriu hibrid \ntre real [i virtual, \ntre organic
[i anorganic, \ntre digital [i genetic. Tradi]ionala poetic` a
pivni]ei [i podului face astfel loc unei noi forme
supermoderne de locuire \ntr-un mediu bio-virtual, lume
a unei alterit`]i infinite.
Vlad Gaivoronschi
Din pivni]` pån` \n pod
Pentru arhitec]ii contemporani dedica]i substan]ei, aten]i
la dimensiuni senzitive complexe ale lucr`rilor lor, piatra
r`måne materie prim` a arhitecturii. Utilizarea nu doar ca
simple ve[minte decorative, inserarea creativ`, uneori
chiar paradoxal` a materiei pietroase, generånd
caracterul [i atmosfera spa]iilor [i mizånd pe efecte
complexe, de masificare [i stereotomie puternic` pe de o
parte, de dematerializare pån` la transluciditate pe de
alt` parte, iat` \n cåteva cuvinte caracteristici ale noii
vårste ale pietrei \n arhitectura actual`. |n m`sura \n care
societatea actual` se exprim` printr-o arhitectur` din ce
\n ce mai mobil` [i mai efemer`, la fel cum, traiul nostru
\n mi[care din ce \n ce mai accentuat`, are nevoie de
«nodurile» de stabilitate conferite \n sånul locuirii, la fel,
este sterp s` ne rezum`m doar la materialele fabricate
artificial. Cu har, inteligen]` [i pu]in` cultur` putem
\ncerca «s` eliber`m» piatra de uzuala sa asociere cu
arhitectura oficial` a puterii (totalitar` sau mai nou a
consumului). La fel, o putem elibera [i de un exces de
rustic. Putem \ncerca [i altfel de explor`ri...
Vlad Gaivoronschi
|ntre stereotomie [i textil`
The phenomenological speech refers to a traditional way of
reporting the body to space, to the dialectics of reverses and
to the up taking of space by assimilating it to our own
body; the rational space (of Renaissance) presumes this
criteria of similitude interposed using the geometric
proportion, as in the same time the lived space of the
phenomenological pertains to an organic sensitive corpus
which is placed under a series of physiological matrixes
characteristic to the dual character of the human spirit.
In the context of the expansions of corporality, of the free
plan, of flexibility etc., the bond between elevated and
rooted receives the new possibilities of the aerial structures,
lifted from the ground (high-tech) opposed to the «heavy»
rooted ones (made of bare concrete or stone); the
proportion cellar-attic is dissolving and is being replaced by
the oblique, dynamic space, the itinerary of movement
becoming more important than the two opposed places.
In the exact instant when the corporal, rational or sensitive
model is beeing replaced with one which is post – organic,
hybrid, nongravitational – unstable interface between ego
and the world, real and imaginary, project and reality – the
meanings of the attic and the cellar are dissolving.
Architecture becomes fluid, dematerialized and above all
uprooted…
The new model is not the antropomorph one but one that
generates unexpected, huge and visceral architecture, a
hybrid territory between real and virtual, organic and
anorganic, digital and genetic.
The traditional poetics of cellar and attic thus make room
for a new super modern form of living in a bio-virtual
medium, a world of infinite alterity.
Vlad Gaivoronschi
From the Cellar to the Attic
(Translation: Livia Ivanovici)
For the contemporary architects devoted to substance,
attentive to the sensitive, complex dimensions of their
works, the stone remains a prime material for architecture.
Utilizing it not only as simple decorative robes, the creative
insertion, sometimes even paradoxal, of the stone material,
generating the atmosphere and the character of spaces
and counting on complex effects of masification and
powerful stereotomy on one hand, of dematerialization till
translucidity on the other hand, these are in a few words
the characteristics of the new age of stone in contemporary
architecture.
In the context of the contemporary society which expresses
itself using an architecture more and more mobile and
ephemeral, just like our living style which finds itself in a
more and more accented movement, needs the «nodes» of
stability that can be found in the center of the living
function, in the same way is poor to refer only to artificial
materials.
With grace, intelligence and a little bit of culture we can try
«to release» the stone of its usual association with the
official architecture of power (totalitarist or in the recent
years of consumerism). In the same way we can free it of a
rustic abuse. We can try other ways of exploration…
Vlad Gaivoronschi
Between Stereotomy and Textile
(Translation: Livia Ivanovici)

Fa]ad` principal` / Main Façade
Pandora Boutique
Pandora Shop
|n scurta perioad` scurs` din 1989 pana \n 1991, Strada
Cluj, leg`tur` important` a sudului ora[ului cu centrul a
suferit o serie de transform`ri radicale. Dintr-un
bulevard larg, tipic reziden]ial, cu cl`diri interbelice
retrase fa]` de aliniament, Strada Cluj a devenit o arter`
comercial` [i de servicii plin` de via]`, pe care casele
vechi se supraetajeaz` [i \[i trimit tentaculele
\mbietoare c`tre trec`tori.
Acestea sunt condi]iile \n care s-a n`scut mica
construc]ie prezentat`. Clientul – o familie de tineri
ingineri – a mai dorit \ns` ceva: a nu edifica pe terenul
propriet`]ii lor, situat` strategic la intersec]ia Str`zii
Cluj cu Strada 1 Decembrie, un chio[c. Chiar dac` le-ar fi
fost mult mai u[or, tinerii au preferat altceva, cu pre]ul
unor eforturi sus]inute.
Construc]ia prezentat` este o prim` etap` a unui
fenomen \n permanent` mi[care, cu care noi, ca
Pandora Boutique
½133¹
During the short period elapsed from 1989 until present, Cluj
Street, an important route which connects the south of the
city with its centre, has radically changed. From a large,
typically residential boulevard, which sheltered inter-war
buildings receding from the street alignment, Cluj Street has
turned into a bustling avenue, pumping with the life of daily
trade and services, along which beautiful old houses,
climbing one on top of the other, are reaching out to the
passers-by.
These are the circumstances under which our small
construction has taken shape. The client – a family of young
engineers – had a special wish: not to construct, on their plot
of land strategically placed at the crossroads of Cluj Street
with 1 Decembrie Street, a kiosk. Although it would have
been much easier for them, the young couple chose to do
something else, at the cost of steady efforts.
The building presented by us is but the early materialization
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½134¹
arhitec]i, \ncerc`m s` ]inem pasul \n mod onorabil.
|ns`[i casa de col] a clientului va suferi o supraetajare
\n viitor, devenind ori un sediu de firm`, ori un club,
\ntr-o leg`tur` direct` cu construc]ia prezentat`. |n
aceste condi]ii, este de a[teptat ca, \n viitor, actuala
func]iune a acesteia – magazin [i snack-bar – s` sufere
modific`ri. Pån` \n aceast` faz` ea a suferit de
asemenea modific`ri din mers. Fiind ini]ial \n proiect
mai scund` [i mai scurt`, ea trebuia s` apar]in` organic
gardului existent de c`r`mid` netencuit`, o completare
re]inut` a acestuia tot din c`r`mid`, atåt la interior, cåt
[i la exterior, avånd un accent – copertina –, gåndit` ca
o tav` \nverzit` pe o structur` metalic` independent`.
Clientul dorind \ns` travertin, acesta a devenit
of an overpowering phenomenon with which the architects
are trying to cope honorably. The client’s corner house itself
is about to witness the construction of upper floors in the
future and to become the headquarters of a firm or of a club,
in direct relation to the present structure. Under the
circumstances, it is estimated that its current function – of
shop and snack-bar – will suffer alterations. It has already
suffered several alterations along the way; since the original
project contemplated a shorter building, it should have been
organically confined within the existing fence, made of brick
uncovered with plaster, and presenting a special touch: an
entrance cover designed like a green tray on an independent
metal structure. However, the client wanted travertine; such
material has therefore been consistently used, from the

continuu, de la interior \nspre exterior, iar pila[trii
gardului au fost \mbr`ca]i de asemenea \n travertin.
Mobilierul este executat \ntr-o leg`tur` organic` cu
construc]ia, iar piesele mobile, \n special scaunele
normale [i de bar, reiau \n mic motivul copertinei.
|ntr-un moment \n care kitsch-ul arhitectural este mai
prezent ca niciodat`, chiar [i pe Strada Cluj, avånd
al`turi cåteva exemple, am optat pentru un design
interior [i exterior simplu [i modern.
Vlad Gaivoronschi
Text publicat anterior \n «Arhitext», nr. 1/1994
Pandora Boutique
½135¹
indoor space to the outdoor one. The pilasters of the fence
have also been covered in travertine.
The furniture has been made in an organic relation with the
construction, and the mobile pieces, especially the ordinary
and the bar chairs, re-iterate the motif of the entrance cover,
on a smaller scale.
At a time when architectural kitsch is more present than
ever, even on Cluj Street, with a few examples right next to
us, we have opted for a simple and modern design, both
indoors and outdoors.
Vlad Gaivoronschi
The Text has been previously published in «Arhitext», no. 1/1994
(Translation: Claudia Rada)
Autor / Author: Arh. / Arch. Vlad Gaivoronschi Antreprenor / General Contractor:
SCOREX S.R.L. Beneficiar / Beneficiary: PANDORA AZA S.R.L. (Poparad Adriana [i
Sorin) Loca]ie / Location: Str. Cluj Nr. 30, Timi[oara Construc]ie / Construction: 1991
– 1993 Fotografii / Photographs: Vlad Gaivoronschi
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½138¹
Casa Sere Traian
Sere Traian House
Situat` pe o parcel`, \ntr-o zon` reziden]ial` a ora[ului,
aceast` locuin]` unifamilial` integreaz`, \n cadrul unei
dinamici spa]iale oblice, ascensionale, a nivelurilor
decalate, atåt zona sa diurn`, deschis` – camera de zi [i
sufrageria dezvoltate pe dou` niveluri decalate la
jum`tate –, cåt [i cea intim`, nocturn` – cele trei
dormitoare amplasate de asemenea pe dou` niveluri
decalate, \mpreun` cu cele dou` b`i suprapuse, dintre
care una corespunde strict cuplului, iar cealalt` are un
caracter mai accesibil chiar [i din zona de zi. Zona
diurn`, semi-public`, con]ine de asemenea holul de
acces, buc`t`ria [i centrala de \nc`lzire, legate de
garajul pentru dou` autoturisme, coboråt cu o jum`tate
Located on a land plot in a residential area of the city, this
one-family dwelling integrates within a spatial, oblique,
ascending dynamics of displaced levels both its open, day
area-the living room and the dining-room developed on
two levels displaced at the half – and its more intimate,
nocturnal area-the three bedrooms also located on two
displaced levels, together with the two superimposed
bathrooms, one of which strictly corresponds to the couple
area, while the other is more accessible, including from the
day area. The semi-public day area also includes the access
lobby, the kitchen and the heating station, connected to
the two-car garage, which is lowered half-a level, being
partly below the quota of the land plot. The cellar is the
 Casa Sere Traian

½139¹

Plan parter / Ground floor plan Plan etaj 1 / First floor plan Plan etaj 2 / Second floor plan
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½140¹
de nivel, par]ial sub cota terenului. Beciul este spa]iul
«\nr`d`cinat», coboråt cu \nc` jum`tate de nivel. Dorit`
ca o alternativ` la palatele rromilor b`n`]eni, din punct
de vedere stilistic am optat pentru un modernism
temperat, potrivit zonei reziden]iale din nordul
Timi[oarei, cu mijloace relativ tradi]ionale. Temele
majore care au generat aceast` lucrare au fost:
– ocuparea p`r]ii nordice a terenului cu un volum
ad`ugit, aproape liniar, eliberånd astfel o suprafa]`
cåt mai mare de teren \nsorit pe aceast` parcel`
relativ limitat` – 700 mp;
– dezvoltarea casei dinspre interior c`tre exterior, \n
condi]iile unei fluidit`]i spa]iale \n plan [i sec]iune,
generat` de dinamica nivelurilor decalate;
«rooted» space, lowered by another half-level. Envisaged as
an alternative to the Banat Roma palaces, from a stylistic
point of view we opted for a mild modernism, adequate to
Timi[oara[’s northern residential area, with relatively
traditional tools. The major themes which generated this
work have been as follows:
– to occupy the Northern part of the land plot by an added
volume, almost linear, thus releasing as large a portion of
sunlit land as possible on this relatively small, 700 sqm
plot;
– to develop the house from the inside towards the outside,
in conditions of a spatial fluidity in plane and section,
generated by the dynamics of displaced levels;
– to achieve transition areas on the inside and on the

– realizarea unor zone de tranzi]ie \ntre interior [i
exterior prin spa]ii intermediare;
– c`tre est, accesul atåt pietonal, cåt [i auto sunt
definite prin substrac]ie:
– c`tre sud strea[ina adånc`, parasolar;
– c`tre vest strea[ina adånc`;
– realizarea unei dialectici a \nr`d`cin`rii [i
ascenden]ei,
a statorniciei [i mobilit`]ii \n cadrul spa]iului [i
mi[c`rii din sånul casei.
Dominanta marelui plan \nclinat care integreaz` [i sub
care se «cuib`resc» marea majoritate a spa]iilor casei
contribuie la caracterul dinamic general.
Ea ad`poste[te celelalte dou` componente majore care
Casa Sere Traian
½141¹
Sec]iune transversal` / Cross section
outside by means of intermediary spaces;
– to the East, the access of both pedestrians and motor
vehicles is defined by subtraction:
– to the South, the deep eaves-sun screen;
– to the West, the deep eaves;
– achievement of a dialectics of rooting and ascendance, of
permanence and mobility within the space and
movement inside the house.
The dominant note represented by the large inclined plane
which integrates and «fosters» the majority of the spaces of
the house contributes to the general dynamic character.
It shelters the other two major components which define in
fact the two centers: one, rooted, the other, dynamic,
namely the fire and the staircase. On the one hand there is
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½142¹
definesc de fapt cele dou` centre, unul \nr`d`cinat,
cel`lalt dinamic, respectiv focul [i scara. Pe de o parte
avem reperul fix, focul c`minului, ne-situat \n centrul
geometric, care devine cap de perspectiv` \n interiorul
fluid al casei, perceput prin «strunga» dintre volumele
dormitoarelor, chiar [i de pe ultimul palier al sc`rii.
Pe de alt` parte, avem scara, luminat` zenital prin
decupajul practicat \n planul \nclinat al acoperirii,
aflat` \n centrul geometric, devenind såmburele
\ntregii organiz`ri spa]iale dinamice, definind
caracterul de «fiin]` vertical`» a casei, coborånd \n
spa]iul \ntunecos al beciului, dar mai ales urcånd c`tre
lumin`, c`tre spa]iile intim cuib`rite sub acoperi[.
Vlad Gaivoronschi
Casa «vertical`»
Text ap`rut ini]ial \n «Arhitext», nr. 11/1995
the fixed landmark – the fire place, which is not positioned
in the geometrical center, becoming a perspective center in
the fluid interior of the house, noticeable from the gap
between the volumes of the bedrooms, even on the last
landing of the staircase.
On the other hand, there is the staircase, lit from the zenith
through the cut-out made in the inclined plane of the roof,
located in the geometrical center which has become the
core of the entire dynamic spatial organization, defining
the nature as «vertical being» of the house, going down
towards the dark space of the cellar, but especially going up
towards the light, to the intimate spaces sheltered under
the roof.
Vlad Gaivoronschi
«Vertical» House
The text has been previously published in «Arhitext», no. 11/1995
(Translation: Claudia Rada)
 Casa Sere Traian

½143¹

Autor / Author: Arh. / Arch. Vlad Gaivoronschi Loca]ie / Location:

Timi[oara Construc]ie / Construction: 1993- 1994 Fotografii /
Photographs: Vlad Gaivoronschi, Mihai Botescu
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½144¹
Casa Bistriceanu
Bistriceanu House
Tema nivelurilor decalate dezvoltate de-a lungul unei
dinamicii spa]iale ascensionale este caracteristic` [i
acestui exemplu. Deosebirea fa]` de Casa Sere este aceea
c` organizarea spa]iului nu se mai dezvolt` pe o vertical`
oblic`, ci graviteaz` \n jurul centrului – pom sc`ldat \n
lumin`, pornind de la acest centru c`tre restul direc]iilor,
dinspre \n`untru \nspre afar`.
Caracterul \nr`d`cinat al acestei mari reziden]e situate la
marginea sudic` a ora[ului, \n cadrul unei viitoare
lotiz`ri, este generat de «scufundarea» unor spa]ii
deservite – sufrageria, al`turi de miezul \nverzit al casei,
cu deschidere c`tre curtea englez`.
De asemenea, locul cu foc reprezint` un alt centru de
interes, aflat \n camera de zi, scufundat cu trei trepte fa]`
de cota + 0,00 a acesteia.
Locurile \nr`d`cinate – mas` – miez verde [i loc cu foc –
definesc o ax` est-vest preferen]ial` a acestei dezvolt`ri,
perpendicular` pe axa de acces principal nord-sud.
Dinamica mi[c`rii \n cadrul spa]iului se \nf`[oar` pe
vertical` la jum`t`]i de niveluri \n jurul centrului. Accesul
principal se face printr-o zon` median`, la nivelul din
mijloc care ad`poste[te \n principal camera de zi care se
deschide c`tre sud [i vest, beneficiind de un adånc spa]iu
intermediar pe ambele laturi.
Zona liminal` a accesului este definit` de un spa]iu
intermediar substras [i de o gradare, din p`cate
insuficient`, a c`ii de acces.
A fost urm`rit` o dialectic` a \nchiderii [i deschiderii
func]ie de direc]iile cardinale [i de vederile dinspre
\n`untru \nspre afar`. Opac` \nspre nord, casa se deschide
c`tre celelalte trei direc]ii: curte englez` \nverzit` c`tre
The theme of displaced levels developed along an
ascending spatial dynamics is also characteristic of this
example. The difference from the Sere house resides in that
the organization of the space no longer develops along an
oblique vertical, but rotates around a center-a tree
immersed in light-and evolves from this center to the other
directions, from the core to the margins.
The root-like character of this large residence located on
the Southern outskirts of the city, within a future land
parceling, is generated by the «sinking» of certain spaces –
the dining room, next to the green heart of the house,
opening to the English yard.
Also, the fire place represents another center of interest,
located, as it is, in the living room, and three steps below its
+ 0.00 quota.
The rooted places-table, green core and fire place-define a
preferential East-West axis of this development, which falls
perpendicular on the main North-South access path.
The dynamics of the movement within the space unfolds
vertically per half levels around the center. The main access
is made through an area in the middle, which mainly
shelters the living room, opening towards the South and
the West and benefiting from a deep intermediate space
on both sides.
The boundary access area is defined by an intermediary
subtracted space and by a gradation, unfortunately
insufficient, of the access way.
A dialectics of opening and closing was pursued according
to the cardinal points and the views from the inside to the
outside. Opaque to the North, the house opens towards the
other three directions: green English yard to the East, the

est, bazinul care \nvele[te casa, \nspre sud [i vest. Apusul
este marcat [i de sculptura care plute[te pe ap`, \nr`mat`
[i ad`postit` de zidul care limiteaz` zona semipublic` de
nord, a cur]ii, de cea sudic`, privat`.
Jum`tatea de nivel superioar` din cadrul mi[c`rii
\nf`[urate \n jurul centrului este un moment important
\n cadrul dinamicii spa]iului: pe de o parte deserve[te
zonele cele mai private ale casei; pe de alt` parte ofer` o
percep]ie privilegiat` asupra spa]iului camerei de zi, dar
[i \nspre afar`, c`tre ap` [i, mai departe, c`tre linia
orizontului cåmpiei timi[ene la apusul soarelui.
Cele dou` momente importante ale zilei sunt astfel
captate c`tre \n`untru: razele r`s`ritului reflectate \nspre
centrul \nverzit, razele apusului reflectate de ap` [i
completate de focul din vatr`.
La fel ca [i \n cazul Casei Sere, din punct de vedere formal
[i compozi]ional s-a optat pentru o puternic` dominant`
a acoperirii \nclinate pe direc]ia longitudinal`. |n ambele
cazuri exist` o coresponden]` \ntre orientarea oblicii [i
organizarea spa]ial` interioar`, axa sa principal`
compozi]ional`. Dac` \n exemplul amintit anterior
oblicitatea spa]iului este \nt`rit` de aceasta, \n acest caz
acoperi[ul cap`t` «grosime», el devenind un con]in`tor \n
zona sa mai consistent` a celui mai intim spa]iu al casei –
loc al refugiului [i solitudinii.
Vlad Gaivoronschi
O cas` \nr`d`cinat` \n jurul pomului
Text publicat ini]ial \n revista «de arhitectur`», nr. 3/ 2001
Casa Bistriceanu
½145¹
basin around the house to the South and the West. The
sunset is also marked by the sculpture floating on the
water, framed and sheltered by the wall which delimits the
public North area of the yard from the South, private one.
The upper half-level of the structures revolving around the
center plays an important role in the dynamics of the
space: on the one hand, it serves the most private areas of
the house; on the other hand, it offers a privileged
perception of the living room space, but also of the outdoor
space, of the water and farther away, towards the horizon
of the Timis plain at sunset.
The two important times of the day are thus captured by
the interior of the house: the rising sun’s rays are reflected
by the water and completed by the fire in the hearth.
Just like in the case of the Sere house, a choice was made in
terms of form and composition for a conspicuously sloping
roof along the longitudinal direction. In both cases, there is
a correspondence between the orientation of the oblique
line and the inner spatial organization, its main
compositional axis. If, in the case of the previous example,
the obliqueness of the space is strengthened by it, in this
case, the roof acquires «thickness», becoming a container,
at its most consistent, of the most intimate space in the
house-a place of refuge and privacy.
Vlad Gaivoronschi
A House Rooted Around a Tree
The text has been previously published in
«de arhitectur`» magazine, no. 3/ 2001
(Translation: Claudia Rada)
Plan de situa]ie / Site plan
Autor / Author: Arh. / Arch. Vlad Gaivoronschi Colaborator / Collaborator: Arh. / Arch.
Carmen Calance Loca]ie / Location: Timi[oara Construc]ie / Construction: 1996- 2000
Fotografii / Photographs: Arpad Zachi, Vlad Gaivoronschi, Octavian Topai
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½148¹

Plan parter / Ground floor plan Plan etaj / Floor pland

 Casa Bistriceanu

½149¹

Sec]iune transversal` / Cross section

 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½150¹
Casa Bistriceanu

½151¹
Casa Dr. Cioc
Dr. Cioc’s House
Solicit`rile din partea clientului \n privin]a acestei mari
locuin]e au fost acelea a unei arhitecturi moderne,
abstracte, puse \ntr-o rela]ie cu apa, existånd la un
moment dat chiar schi]e f`cute de client ale unei case pe
ap`, compact`, centralizat`, precum o insul`. |n acela[i
timp, parcela de col], de form` relativ p`trat`, aflat` \ntr-
o zon` reziden]ial` \n sudul Timi[oarei, presupunea
p`strarea unor aliniamente, regim de \n`l]ime etc.
Primele variante schi]ate au interpretat atåt tema rela]iei
cu apa, cåt [i necesitatea definirii unui spa]iu intim al
cur]ii din spate (dinspre nord), \n opozi]ie cu spa]iul
semipublic de acces dinspre sud.
A rezultat \n final o cas` binuclear` ce:
– simuleaz` a[ezarea sa pe ap` precum o punte peste un
«covor acvatic»; acesta este alc`tuit din dou` p`r]i:
bazinul pu]in adånc peste care se desf`[oar` o alt`
punte, cea de acces, [i piscina din spate;
The client requested, with respect to this large dwelling, a
modern, abstract architectural structure, put in a
relationship with water. The client himself drafted, at some
point, several sketches of a house on water, compact,
focused on itself as if it were on an island. At the same
time, the corner plot, relatively square in form, implied the
preservation of certain alignments, of a certain elevation,
etc. The first sketches interpreted both the relation with the
water and the necessity to define an intimate space of the
back yard (to the North) in opposition to the semi-public
area of access from the South.
A house with two nuclei resulted in the end, which:
– simulates its location on water like a bridge over an
«aquatic carpet»; the latter is formed of two parts: the
shallow basin over which another bridge unfolds, namely
the access bridge, and the swimming-pool at the back of
the house;

– protejeaz`, prin limitarea pe dou` laturi, un spa]iu intim
ce ad`poste[te terasa, piscina [i zona verde de gr`din`
privat`;
– define[te o serie de locuri \n sånul s`u, centre, spa]ii ale
repaosului [i intimit`]ii articulate [i \nl`n]uite dinamic
prin intermediul zonelor de tranzi]ie, a sc`rilor [i
pun]ilor; focul este g`zduit chiar \ntr-o zon` de limit` [i
tranzi]ie \ntre living [i sufragerie, devenind centru [i
poart` totodat`, dialectica afar`-\n`untru este
materializat` \n zona articula]iei \ntre cele dou` corpuri
ale casei prin puntea acoperit` de copertina \n consol`;
raportul public-privat \n cadrul spa]iului interior este
nuan]at de cele dou` sc`ri interioare; una este mai
public` [i important`, cu podest intermediar, avånd un
aer ceremonial [i urcånd la camera de oaspe]i [i la micul
apartament destinat copilului; cealalt` este iute [i
intim`, deservind strict zona cuplului; \ntre cele dou`
Casa Dr. Cioc
½153¹
– protects, by delimiting borders on two sides, an intimate
space which shelters the terrace, the pool and the green
area of the private garden;
– defines several places inside, several centers, spaces of rest
and intimacy dynamically articulated and chained by
means of the transition areas, of the staircases and
bridges. The fire itself is hosted in such a limit and
transition area, between the living and the dining-room,
becoming a center and a gate at the same time. The
inside-outside dialectics is materialized in the area of
articulation of the two parts of the house through the
footbridge covered by the cantilever roof; the public-
private relationship inside the house is nuanced by the
two staircases: one is public and more important, with
intermediary landing, having a ceremonial air and going
up to the guest room and to the small apartment meant
for the child; the other is lively and intimate, strictly
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½154¹

Schi]e concept / Concept Sketches


zone de la etaj leg`tura se materializeaz` prin puntea
pasarel` care str`bate holul de primire; dialectica
aproape-departe este cea care este mediat` aici \ntre
zona cuplului [i zona copilului, prin intermediul pun]ii
care separ` [i totu[i apropie.
Un anume caracter ceremonial al acestei mari reziden]e,
\n cadrul c`reia materialitatea [i sonoritatea spa]iului
public – fluid de la cota + 0,00 este \n contrast cu cea
intim` de la etaj, este accentuat de promenada care poate
fi realizat` \n cadrul spa]iului utilizånd ambele sc`ri.
|n cadrul acesteia, puntea care leag` genera]iile devine
totodat` «locul \nalt» \n raport cu zona liminal` a
accesului.
Menit` a acomoda traiul \n comun a trei genera]ii (la
parter, pe lång` un birou existånd [i \nc` dou`
dormitoare pentru bunici), marea vil` poate fi cu u[urin]`
reconvertit` \ntr-o pensiune, sediu de firm` sau
restaurant. Aceasta este una din problemele tipice care
apar \n aceast` perioad` de trecere de la familia
tradi]ional` la cea modern`, aceea de a face case care pot
rezista cu u[urin]` tranzi]iei. De aici structura scheletal`,
precum [i un limbaj arhitectural mai oficial.
Vlad Gaivoronschi
Casa ca punte [i limit`
Text publicat ini]ial \n «Arhitext», nr. 11/2001
Casa Dr. Cioc
½155¹
serving the area meant for the couple. The connection
between the two upper floor areas is achieved by a
corridor crossing the entrance lobby; the dialectics far-
away is mediated here, in the couple and the child areas,
by the footbridge which separates and brings together at
the same time.
A certain ceremonial nature of this large residence, within
which the materiality and sonority of the public space –
fluid from the + 0.00 quota – contrasts with the intimacy
of the upper floor is emphasized by a possible promenade
within the space, by walking along both staircases. The
bridge connecting the generations also becomes the «high
spot» in relation to the access area.
Meant to accommodate the common living of three
generations (on the ground floor, in addition to the office,
there also are two bedrooms for the grandparents), the
large villa may be easily converted into a pension house, a
company headquarters or a restaurant. This is one of the
typical problems which arise in this transition period from
the traditional to the modern family: that of building
houses that can resist the transition. This results in a
skeleton-like structure and a more formal architectural
language.
Vlad Gaivoronschi
The House as Bridge and Limit
The text has been previously published in «Arhitext», no. 11/2001
(Translation: Claudia Rada)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½156¹

Plan etaj / Floor plan

Plan parter / Ground floor plan

Autor / Author: Arh. / Arch. Vlad Gaivoronschi Colaborator / Collaborator: Arh. /

Arch. Carmen Calance Loca]ie / Location: Timi[oara Construc]ie / Construction:
1996- 2000 Fotografii / Photographs: Vlad Gaivoronschi, Octavian Topai
Casa Ionescu
Ionescu House
Aceast` lucrare amplasat` \n marginea Timi[oarei, \ntr-o
viitoare zon` reziden]ial`, a constituit un exerci]iu
aparte.
Proiectul a fost unul de amenajare exterioar` [i
interioar` a unei lucr`ri aflate \n stadiu de «ro[u», rod al
unui proiect de antrepriz` bazat pe anumite cerin]e
exprese solicitate de client (atrium p`trat descoperit \n
mijlocul unei case de asemenea p`trate, cu un garaj
ad`ugat [i cu etajul par]ial, destinat copiilor sau/[i
oaspetelui, c`tre terasa circulabil`).
Interven]ia desf`[urat` atåt \n exterior (finisaje
exterioare, gard, amenajare curte, gr`din`, piscin` etc.),
cåt [i \n interior ([emineu, atrium, scar` interioar`,
finisaje, tavan, lumini etc.) s-a bazat pe poten]area
dialecticii interior-exterior [i inversiunea acesteia,
dublat` de dialectica texturilor [i culorilor. A rezultat, pe
de o parte, accentuarea miezului atriumului, care s-a
transformat \ntr-o mic` gr`din` interioar` luminat`
This building, located on the outskirts of Timi[oara, in a
future residential area, represented a peculiar exercise.
The project was envisaged as a work of interior and exterior
refurbishment of a brick structure, resulting from a
construction work undertaken on a contract basis subject to
several strict requirements made by the client (a square
unroofed atrium in the middle of a house equally square in
shape, with an added garage and an upper floor meant for
the children and/or guests, which provided access to the
passable terrace).
The interventions, which took place both on the exterior of
the house (exterior finishing, fence, arrangement of the yard,
swimming pool etc.) and on the interior (fire place, atrium,
staircase, finishing works, ceiling, lights etc.) relied on an
amplification of the indoor-outdoor dialectics and on its
reversion, doubled by a dialectics of textures and colors. This
resulted, on the one hand, in emphasizing the core of the
atrium, which turned into a small inner garden, lit from the

zenital, pe de alt` parte \nt`rirea limitelor atåt a \ntregii
propriet`]i, cåt [i a casei propriu-zise.
«Something roughly in the middle», cel de-al 126-lea
pattern al lui Alexander, devine astfel «a garden under
light in the middle», leg`tur` cu p`måntul [i cu lumina
natural` a spa]iului interior al casei.
Avånd \n vedere imposibilitatea de a genera de la bun
\nceput spa]iile acestei case pe baza unui sistem de
propor]ionare [i de compozi]ie corespunz`tor, s-a optat
pentru procedee radicale, menite a conferi poetic` [i
atmosfer` locuirii. Al`turi de miezul viu al solului u[or
scufundat, \nt`rirea limitelor a presupus op]iunea
pentru aceea[i piatr` rugoas` ({anovi]a – jud. Timi[) la
gard, dar mai ales «anveloparea» cu aceasta a parterului
\ntregii case. Cele dou` limite concentrice succesive [i
pietroase, o dat` dep`[ite, ofer` o surpriz` prin
descoperirea miezului viu, luminos [i verde la interior.
Sunt puse \n antitez` cele dou` stadii ale pietrei,
Casa Ionescu
½159¹
Plan de situa]ie / Site Plan
zenith, and on the other hand, in consolidating the limits of
the property, as well as of the house itself.
«Something roughly in the middle», Alexander’s 126th
pattern, becomes thus «a garden under light in the middle», a
link with the ground and with the natural light of the inner
space of the house.
Considering the aprioristic impossibility to generate the
spaces of this house on the basis of an adequate system of
proportions and composition, radical procedures were
preferred, meant to lend poetic air and specific atmosphere to
the place. Next to the lively core of the slightly sunk ground,
the consolidation of the limits implied the same option for
the same rough stone ({anovi]a – Timi[ County) used for the
fence, and particularly the wrapping of the entire house in it.
Once one has crossed the two concentric, successive rocky
limits, a surprise is offered to one’s eyes, in the form of a lively,
luminous and green inner core.
Two sides of the stone are placed in an antithesis: a mono-
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
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Plan parter / Ground floor plan
monomaterial, rugos, s`lbatic [i protectiv la exterior,
material lucios la interior (granit italian, pe cei patru
stålpi care str`juiesc gr`dina, pe prima jum`tate de
scar` interioar` \n consol` [i pe [emineu). Acestea –
focul, gr`dina [i scara – constituie de fapt cele trei
elemente tari care organizeaz` interiorul [i dinamica sa
spa]ial`. Scara interioar`, urcånd c`tre lumin`, confer`
calitate percep]iei dinamice a spa]iului.
Aceea[i materialitate [i culoare a lemnului se reg`se[te
[i la exterior, [i la interior: anvelopa etajului par]ial,
materialitatea obloanelor la exterior, \nr`marea gr`dinii
atrium, u[ile, blatul [emineului, al doilea rånd de trepte
ale sc`rii, grinzile tavanului la interior, precum [i
majoritatea elementelor care alc`tuiesc pavilionul
exterior barbecue.
Piesa principal` a interven]iei r`måne careul de lumin`
din centru peste covorul de verdea]`. Acesta este orbitor
la amiaz`, stins pe timp noros, violaceu la apusul
soarelui, albastru-mov pe \nserat. Careul verde, la
råndul s`u, covor plat la \nceput, a c`p`tat \n momentul
de fa]` relief. Caracterul relativ opac al parterului [i
\n`l]imea joas` a tavanului genereaz` \n jurul
atriumului dezvoltat pe \n`l]ime o zon` de penumbr`,
de intimitate.
material, rugged, wild and protective side on the exterior, a
shiny side on the interior (Italian granite on the four pillars
framing the garden, on the first half of the cantilever
staircase and on the fire place). These, the fire, the garden and
the staircase form in fact the three strong elements which
organize the interior of the house and its spatial dynamics.
The staircase mounting towards the light confers quality to
the dynamic perception of the space.
The same materiality and color of the wood may be found on
the exterior and on the interior: the wrapping of the partial
floor, the materiality of the shutters on the interior, the
framing of the garden, the doors, the smooth portion of the
fire place, the second flight of stairs of the staircase, the
beams of the ceiling on the inside, and most of the elements
forming the exterior pavilion for barbecue.
The main piece of the intervention remains the square of
light in the center over the green carpet. It is blinding in the
afternoon, dull in cloudy weather, purple at sunset, dark blue
and violet at dusk. The green square, in its turn, a flat carpet
at the beginning, has now acquired some consistence. The
relative opaqueness of the ground floor and of the low ceiling
generates a zone of obscurity and intimacy around the
atrium developed along its elevation.
The barbecue pavilion and the swimming-pool have

Fa]ad` principal` / Main facade
Pavilionul barbecue [i piscina au reprezentat actul final
al interven]iei, fiind amenajat de fapt \ntregul spa]iu de
gradin` din jurul casei. Covorul acvatic a devenit un
element important, suprafa]a orizontal` de oglind`
pornind de sub placa de teras` \n consola din dreptul
camerei de zi [i oprindu-se sub pavilionul «cu foc».
Juxtapunåndu-le, s-a ivit ocazia de a transforma banalul
barbecue \ntr-un pavilion al focului plutind pe ap`.
|n concluzie, for]a substan]ei celor dou` limit`ri
succesive, \mpreun` cu magia luminii [i a gr`dinii din
miezul viu al casei compenseaz` absen]a «figurilor de
stil». O dialectic` mai subtil` este de asemenea
prezent`: pe de o parte perenitatea [i statornicia zidului,
pe de alt` parte dina-mismul, caracterul schimb`tor,
propriu ciclului zi-noapte, prezent \n mijlocul casei,
dublat de dinamica proprie vie]ii plantelor.
Vlad Gaivoronschi
|ntre såmbure [i coaj`
Text ap`rut ini]ial \n «Arhitext», nr. 2/2002
Autor / Author: Arh. / Arch. Vlad Gaivoronschi Loca]ie / Location: Timi[oara Construc]ie
/ Construction: 1999 – 2000 Fotografii / Photographs: Vlad Gaivoronschi, Octavian Topai
Casa Ionescu
½161¹
represented the final act of the works, as part of the works for
refurbishing the entire garden space around the house. The
aquatic carpet has become an important element, the
horizontal mirror surface starting from beneath the offset
piece of the terrace opposite the living-room and stopping
beneath the «fire» pavilion. Their juxtaposition enabled a
transformation of the ordinary barbecue into a fire pavilion
floating on water.
To conclude, the force of the substance of the two successive
limitations coupled with the magic of the light and of the
garden placed at the living core of the house, compensate for
the absence of «metaphors». A more subtle dialectics is also
present: on the one hand, the durableness and permanence of
the wall, on the other hand, the dynamic, changing nature
specific to the day-night cycle, present in the middle of the
house and doubled by the specific dynamic of plant life.
Vlad Gaivoronschi
Between kernel and shell
The text has been previously published in «Arhitext», no. 2/2002
(Translation: Claudia Rada)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½164¹
Plan de situa]ie / Site plan
Hotel Savoy
Savoy Hotel
Coinciden]a face ca, \n timp ce la Bucure[ti, la finele lui
2005, se vernisau expozi]ii \n holul Universit`]ii Ion Mincu
dedicate perioadei interbelice bucure[tene (fotografii de
epoc`, de familie, al`turate celor de arhitectur`), la
Timi[oara s-a inaugurat un hotel care a pus \n valoare o
«veche» cl`dire interbelic`.
Temele principale referitoare la patrimoniu, pentru
Timi[oara, sunt cetatea baroc` sau cartierele Secession.
Acestea constituie zone compacte, avånd un caracter [i o
atmosfer` cu care ne identific`m.
Arhitectura interbelic` se dezvolt` \n zone poroase, \n
intersti]ii, manifeståndu-se stilistic diferen]iat, de la ecourile
tårzii ale [colii budapestane (cu influen]e de tip Arts and
Crafts sau [coala de la Amsterdam), trecånd prin perioada
intermediar` specific` operei lui Duiliu Marcu [i mergånd
pån` la cele foarte rare cubiste, de diferite nuan]e (Rafiroiu,
etc.). Printre pu]inele exemple din aceast` ultim` categorie
este casa arhitectului Purcariu de pe Splaiul Beg`i, \n
imediata vecin`tate a centrului «Corso» [i Catedralei.
Arhitect al ora[ului \n perioada interbelic`, dl. Purcariu a
construit imobilul de apartamente pentru \nchiriere,
rezervåndu-[i la parterul \nalt apartamentul s`u personal.
Ca elev [i student parcurgånd mereu splaiul [i zona Flora,
loc tradi]ional al \ntålnirii tinerei genera]ii \n anii ’70, am
By way of coincidence, when in the exhibition room of
Ion Mincu University there was an opening of an
exhibition on Bucharest interwar period (with period
family photographs juxtaposed to architectural ones) in
Timi[oara we inaugurated a hotel that enhanced an
«old» interwar building. The major themes of Timi[oara’s
heritage are the baroque fortress and the Secession
neighborhoods. They are compact zones we identify with.
Interwar architecture, also present, develops in porous,
interstitial spaces, being stylistically different, from late
Budapest School of Arts and Crafts type or Amsterdam
School, to Duiliu Marcu’s middle stage, and finally, rare
cases of cubist architecture of various sort (Rafiroiu, etc).
Out of the few example of the latter kind, we can
mention architect Purcariu’s house on the Bega
Embankment, close to «Corso» and the Cathedral. Being
the town’s architect in the interwar period, Mr. Purcariu
designed an apartment building for rent, and inhabited
one of the apartments on the tall ground floor. As high-
school pupil and then as student, while walking along
the embankment and Flora area, a traditional meeting
place of the 1970s generation, I appreciated this cubist
building with art-deco accents, as well the one adjacent
to it, completely ruined in 2005 by the «creative fury» of

apreciat \n mod deosebit acest imobil cubist cu nuan]e art-
deco, precum [i cel de al`turi, masacrat din p`cate tot \n
anul 2005 de «furia» creatoare a unui locatar antreprenor.
Amenajarea ca hotel a Casei Purcariu, edificat` de acesta \n
1934, a fost un prilej pentru a salva aceast` cl`dire,
p`stråndu-i [i accentuåndu-i, cu mici modific`ri, stilul; mai
mult, a fost o ocazie pentru a crea \n interior o atmosfer`
care s` aminteasc` de burghezia interbelic` timi[orean`,
c`reia [i arh. Purcariu \i apar]inea.
Proiectul [i execu]ia s-au desf`[urat pe o perioad` de 5 ani;
precum metamorfozarea numelui din Athenée \n Savoy, la
fel s-a petrecut [i cu identitatea investitorului, aducånd
dup` sine modific`ri [i amplific`ri ale proiectului, mai ales
\n ultimii trei ani. Strategia, \n mare, a r`mas aceea[i de la
\nceput, aceea a corpului cl`dirii vechi, articulat` prin
intermediul unui hol «atrium» cu un corp nou \n partea din
spate a parcelei. Problemele majore din punct de vedere
structural [i func]ional pentru a putea transforma un imobil
de opt apartamente \n hotel de 4 stele rentabil au fost dup`
cum urmeaz`:
a) consolidarea casei interbelice, \n condi]iile:
– fluidiz`rii spa]iului [i eliber`rii sale cåt mai mult posibil de
elemente tectonice la parterul \nalt [i subsol, acolo unde
s-au amenajat zonele publice (hol, bar, recep]ie, restaurant);
Hotel Savoy
½165¹
one of its dwellers, an entrepreneur.
The conversion of Purcariu building (1934), into a hotel
was a great opportunity to rescue this building, while
preserving and emphasizing, with slight alterations, the
style; what is more, we could create an atmosphere that
would recall the interwar bourgeoisie, to which architect
Purcariu belonged to.
The project and execution were carried out in five years;
as it was the change of name from Athenée into Savoy,
so it was the investor’s identity that brought along
alterations and developments in the project, especially
during the last three years. However, the overall strategy
remained the same, consisting of the old wing of the
building articulated via an «atrium» hallway to a new
wing in the back of the parcel. Here are the major
structural and functional problems pertaining the
conversion of an eight apartment building into a
profitable 4 star hotel:
a) the consolidation of the interwar house considering
– the space flow and its liberation of the tectonic elements
of the tall ground floor and basement, where public areas
were arranged (hall, bar, reception desk, restaurant);
– densification with partition walls between hotel rooms
on the 1, 2, 3 floors;
Fa]ad` / Façade
– densific`rii cu pere]i desp`r]itori \ntre camerele de hotel
de la nivelurile 1, 2, 3;
– supraetaj`rii cu o structur` u[oar`, generånd un
penthouse deschis c`tre splai [i catedral`;
– \ncadr`rii \n standardele [i normele de calcul antiseismic
specifice programului de hotel, mai severe decåt cele
pentru locuin]`; \n aceste condi]ii, plan[eele din corpuri
ceramice de 8 cm grosime au devenit cofraje pierdute,
co[urile de fum au devenit elemente rigide umplute cu
beton, zidul longitudinal, coloan` vertebral` a casei a fost
consolidat etc.
– the building of an extra light floor, a penthouse
overlooking the embankment and the cathedral;
– complying with the anti-earthquake standards and
norms, specific to the hotel program, far more strict
than in case of houses; thus, we introduced 8 cm thick
ceramic ceilings that turned into casings, the chimney
stacks were filled in with concrete and became rigid
bodies, the longitudinal wall, the backbone of the
house, was consolidated, etc.
b) the conversion ob both the extant house and the
entire lot so as to house a certain number of rooms and
Fa]ade / Façades
b) transformarea atåt a casei existente cåt [i a \ntregii
parcele, astfel \ncåt s` poat` ad`posti un num`r de camere
[i restul serviciilor specifice, \ncåt s` poate fi amortizat`
investi]ia; \n aceste condi]ii:
– a fost resistematizat` pe vertical` \ntreaga parcel` de
peste 1300 mp; \n condi]iile cotei ±0,00 la 1,50 fa]` de cota
trotuarului, p`strat` continu` [i \n holul atrium [i la corpul
nou \n spate, curtea a fost coboråt` astfel \ncåt s` permit`
amenajarea unei zone scufundate, \n principal pentru
acomodarea unor locuri de parcare sub corpul nou pe pilo]i
[i pentru accesul de la aceast` cot` \n holul atrium;
the additional services to cover the investment; thus:
– we rearranged the entire parcel of 1,300 sq m vertically;
given the ±0.00 to 1.50 level as to the pavement level,
that we preserved in the atrium and the new wing, the
courtyard level was lowered to allow a sunken area to
accommodate the parking lot under the new wing on
pilotis to ensure access to the atrium;
– the front access to the street was solved through a
couple of stairs covered by a canopy, guiding the
tourists from the access to the reception desk,
restaurant, and the rooms; the movement is axial, to
MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½168¹

Plan \nvelitoare / Roof plan

Plan etaj 1 / First floor plan

Plan parter / Ground floor plan

Plan demisol / Semi-basement plan

MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½170¹
– a fost rezolvat accesul principal dinspre strad` prin
apari]ia unui pachet de trepte acoperite cu copertin` [i
direc]ionarea unui parcurs logic al turi[tilor dinspre acces
c`tre recep]ie, restaurant [i camerele de cazare; mi[carea
este axial`, \n profunzimea ansamblului; pe acest traseu se
reg`sesc, de o parte [i de alta o zon` de hol de acces, barul
cu un spa]iu larg aferent, recep]ia cu zona sa pe hol, holul
atrium cu scara principal` [i liftul panoramic, de unde se
accede la toate camerele sau/[i se coboar` \n restaurant
sau la parcare;
– au fost rezolvate spa]ii de serviciu obligatorii, cum ar fi
centrala termic` sau buc`t`ria cu toate anexele \ntr-o
parte a demisolului casei vechi, oficii de nivel atåt \n corpul
existent, cåt [i \n cel nou;
– au fost ierarhizate circula]iile verticale, scara din corpul
vechi devenind scar` de serviciu ce face leg`tura dintre
buc`t`rie [i restul nivelelor, iar scara principal` [i liftul
panoramic fiind amplasate \n atrium, care astfel devine
miezul \ntregului ansamblu;
– s-a ob]inut un num`r de 55 de unit`]i de cazare, dintre
care 12 single [i 3 apartamente, dintre care dou`, situate \n
fiecare dintre cele dou` etaje tip pent-house, sunt foarte
generoase, fiind practic de 5 stele;
c) scopurile urm`rite din punctul de vedere al atmosferei [i
stilului au avut \n vedere:
– punerea \n valoare a casei interbelice, la scara ora[ului,
prin particularizarea ei ca finisare, culoare, design al
intr`rii [i copertinei \n consol`, signalecticii, lumin`rii pe
timp de noapte etc.; s-a avut \n vedere apartenen]a cl`dirii
the depth of the ensemble; on both sides there are an
access hall, the bar with an adjacent large space, the
reception desk, the atrium with the main staircase and
the panoramic elevator with access to all rooms,
restaurant, and parking lot;
– solutions were found for the necessary utility spaces,
such as the thermal unit and the kitchen with their
annexes, located in the semi-basement of the old
house; offices were added in both the old and the new
wings;
– a new hierarchy was established on the vertical
circulations, the staircase of the old building being used
as service staircase connecting the kitchen and the rest
of the floors, while the main staircase and the
panoramic elevator are in the atrium, which is the hub
of the whole ensemble;
– 55 accommodation spaces were arranged, out of which
12 single rooms and 3 apartments, of which two are
placed in each of the two penthouses; the latter are
rated as 5 star spaces;
c) our goals concerning the atmosphere and style focused
on:
– the enhancement of the interwar house as to the
townscape through its finishing, color, entrance and
cantilevered canopy design, the signal and lighting
systems during the night, etc; we took into account the
existing building belonging to a front of ground floor +
3 upper story houses and trees that both define the
street character and T. Vladimirescu Embankment;
 Hotel Savoy

½171¹

Sec]iune transversal` / Cross section

 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½172¹
existente la un front ritmat succesiv de case de max P+3 [i
copaci ce definesc \mpreun` caracterul str`zii [i splaiului T.
Vladimirescu; \n aceste condi]ii, teii din fa]a cl`dirii au fost
menaja]i, chiar dac` \ntr-o anumit` m`sur` inoportuneaz`
accesul auto al taximetrelor, iar nivelul penthouse este
\ntr-o retragere suficient` pentru a nu fi perceput decåt de
departe; o dat` \n plus, cl`direa existent` este
particularizat` [i prin diferen]ierea stilistic`, de
materialitate [i culoare a corpurilor ad`ugate;
penthouse-ul este \n aluminiu complet, holul atrium este
complet vitrat, high-tech, dematerializat, structur` u[oar`
din metal, parape]i din sticl`, mån` curent` din balu[tii
lemn; corpul de cazare nou este diferit stilistic [i coloristic
de casa interbelic`, se constituie oarecum un fundal al
acesteia; (ini]ial, acest corp a fost imaginat ca «o mobil`
uria[`» cu fa]ad` ventilat` de tip max sau panouri de
lemn); acum se apropie mai mult de atrium, anumite
detalii din interiorul holului reg`sindu-se pe fa]ada cl`dirii
(parape]ii de sticl` la ferestrele «fran]uze[ti»); chiar dac`
pe orizontal` corpurile se articuleaz` aproape «didactic»,
pe vertical` ele p`streaz` regula tradi]ional` tripartit`, a
articula]iei soclu, corp [i acoperi[, iar anumite «straturi»
orizontale se reg`sesc la ambele corpuri, respectiv soclul
casei vechi \n «baumit» gri se apropie de «soclul» articulat
al cl`dirii noi din spate, respectiv stålpii rotunzi \mbr`ca]i
\n aluminiu gri; acela[i gri apare \n tot atriumul \n ceea ce
prive[te finisajul elementelor de metal; stratul superior al
penthouse-ului este, de asemenea, atåt \n zona veche, cåt
[i \n cea nou`, \n aluminiu gri; articula]ia, discontinuitatea
este echilibrat` astfel prin straturi ce unific` ansamblul;
– atmosfera interioar` \n corpul vechi are o tem`, expus`
anterior, u[or «retro»; zona de hol la cota ±0,00, barul,
recep]ia amenajate \n vechiul apartament al arh. Purcariu
preiau cele dou` cercuri de influen]` Loos ce definesc un ax
secundar de compozi]ie perpendicular pe cel major
thus, we saved the linden trees of the front, although
they somehow make the car access difficult; the
penthouse is withdrawn, so it can be only seen from
afar; moreover the buildings is singled out as an
interwar building through the style and colors of the
additional wings; the penthouse is of aluminum, the
atrium is a glazed, high-tech, dematerialized space, the
parapets of glass, the handrail of wood balusters; the
accommodation space is different as style and color
from the interwar house, being a sort of backdrop;
(initially, this wing was imagined as «huge furniture»
with ventilated max façade or wooden panels; now, it is
more like an atrium – some of the wing details being
present in the façade (the glass parapets of the French
windows). Even if the wings are almost didactically
articulated along the vertical, they retain the
traditional tripartite rule of the articulation starting
from the base course, body, and roof, and some
horizontal layers can be found in both wings, that is, in
the base course of the old house made of grey «baumit»
is almost similar to the articulated «base course» of the
new building from the rear, displaying round piers
sheathed in grey aluminum; the very same grey is
present all over the atrium in the metal finishing; the
upper layer of the penthouse, both in the old and new
wing, is also grey. The articulation and its
fragmentariness are thus balanced through the
unifying layers of the ensemble;
– the interior atmosphere of the old wing has a theme of
«retro» character; the hall area at ± 0.00, the bar, and
the reception desk are arranged in the architect’s
former apartment and take over Loos’s two lines of
influence, defining a secondary axis perpendicular to
the longitudinal one; the finishing is paneling and
wooden carpentry (meranti) in windows, green granite

longitudinal; finisajele sunt lambriu [i tåmpl`rie de lemn
la ferestre din lemn de «meranti», granit verde de Brazilia,
care expandeaz` [i la exterior, pe treptele de acces, precum
un covor pre]ios pe treptele de acces, pe terasa
semicircular` a cl`dirii existente [i pe sc`rile [i pasarelele
din holul atrium; atåt pultul recep]iei, cåt [i cel al barului
apar]in locului, nu sunt obiecte distincte; tavanul, de
asemenea, define[te un ax par]ial \n cadrul holului,
alc`tuind, \mpreun` cu pictura lui Silviu Or`vi]an, o
dominant` de atmosfer` ce caracterizeaz` \ntregul spa]iu
din corpul vechi; la aceasta se adaug` cele opt «prezen]e»
exotice, picturi verticale ale lui Vlad Ardelean, portrete \n
stilul picturii interbelice ale unor personaje ce au for]a
amintirii. Precum \n alte proiecte, ambientul sonor este
esen]ial; al`turi de restul instala]iilor ce definesc confortul
termic, vizual etc. al ansamblului, re]eaua de difuzoare
genereaz` o serie de teme retro, cu predilec]ie «be-bop»,
cånt`re]i romåni interbelici etc., venind astfel \n
completare la \ntreaga strategie urm`rit`; \n demisol
restaurantul se caracterizeaz` prin atmosfer` de «pub»
intim, cu mult lemn, banchet` continu` \n piele bej pe trei
laturi, fotografii de colec]ie cu imaginile de epoc` ale
Timi[oarei interbelice;
– holul atrium este o surpriz` pentru cel ce accede prima
oar` \n hotel; este un spa]iu «interior-exterior» dramatic,
vertical [i dinamic; are totodat` o func]ie bioclimatic`, ser`
pe timp de iarn`, spa]iu de ventila]ie natural` pe timp
c`lduros, are bine\n]eles \n centrul s`u un copac, iar zona
verde din exteriorul s`u aflat` \n curtea scufundat` este
plantat` cu mesteceni tineri; pasarelele [i scara cu trepte
articulate plutesc \n sånul spa]iului dinamic, ascensional,
caracterizat de zvelte]ea [i sinceritatea structurii metalice
contravåntuite, de lumina filtrat` de deflectoarele de
deasupra, de mi[carea liftului [i de mi[carea luminii
exterioare, prezent` direct la r`s`rit [i la apus;
Hotel Savoy
½173¹
of Brazil extending to the exterior on the access steps as
a precious carpet, and then on the semicircular terrace
of the existing building, and in the footbridges of the
atrium; both the reception niche and that of the bar
were always there, they are not distinct objects.
Moreover, the ceiling defines a partial axis within the
hall; together with Silviu Or`vi]an’s painting, it
dominates the old space atmosphere; that is enhanced
by the eight exotic «presences», Vlad Ardeleanu’s
paintings, portraits in the interwar style of some
evocative characters. As in other projects, the sound
ambience is essential; besides the thermal, visual, etc.
installations of the ensemble, the loudspeaker network
generates all sorts of music, from «be-bop» to
Romanian interwar singers that complete the devised
strategy. In the semi-basement, the restaurant shows a
pub-like atmosphere, with much wood, beige leather
benches on three sides, and collection photographs with
period shots from interwar Timi[oara.
– the atrium comes as a surprise for the visitor; it is an
«interior-exterior» dramatic space on the vertical; it
has also a bioclimatic function as greenhouse in winter,
naturally ventilated space in hot summer, featuring a
tree in the middle; the sunken courtyard is planted with
young birches; both the footbridges and the staircase
with articulated steps float inside this soaring, dynamic
space, characterized by the slimness and honesty of the
braced metal structure, the light filtered through the
spots from above, the movements of the elevator and
that of outside light coming from east and west;
– the rooms of the old wing have different sizes and
configurations, yet finished in the same manner, with
heavy, somewhat retro furniture of brown-meranti
wood, black and white chequered tile bathrooms; the
penthouse apartment is modern, characterized by a
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½174¹
– camerele din corpul vechi sunt diferen]iate \ntre ele ca
m`rime [i configurare, finisate \n aceea[i manier`, cu
mobilier mai greu, u[or retro, lemn maro-meranti, b`i cu
gresie \n [ah alb-negru, etc, apartamentul penthouse este
modern, caracterizat de un spa]iu fluid, deschis [i este
vitrat complet c`tre terasa \nverzit`;
– camerele din corpul nou sunt de dou` tipuri [i se
caracterizeaz` printr-un aer mai modern, mobil` bej, b`i
bej etc., \n spiritul cl`dirii noi; la råndul lor, coridoarele
ce deservesc camerele \n corpul nou se caracterizeaz`
prin peretele de fundal mov, care este planul de cap`t
(accentuat), perpendicular pe axul major de mi[care
(\n adåncime) \n cadrul ansamblului; cele dou`
apartamente de peste corpul nou se caracterizeaz`
la råndul lor prin fluiditate a spa]iului, plan liber [i
deschidere c`tre ora[ pe toate p`r]ile; \n apartamente
sunt amplasate picturile ce-l caracterizeaz` cel mai bine
pe Sorin Nicodim – enigmaticele sale flori.
Vlad Gaivoronschi
Re-crearea unei atmosfere
Text ap`rut ini]ial \n «Arhitext», nr. 6/2006
fluid space, open, completely glazed to the green
terrace;
– the rooms of the new wing come in two types are quite
modern, with beige furniture and bathrooms, following
the spirit of the new wing; the corridors have a violet
background wall, perpendicularly emphasizing the
major axis of movement within the ensemble; the two
apartments feature flowing spaces, free plan and
overlook the city in all directions; they are decorated
with Sorin Nicodim’s paintings representing his
enigmatic flowers.
Vlad Gaivoronschi
Re-inventing an atmosphere
The text has been previously published in «Arhitext», no. 6/2006
(Translation: Magda Teodorescu)
 Hotel Savoy

½175¹

Autor / Author: Arh. / Arch. Vlad Gaivoronschi, Arh. / Arch. Marius Hår]a Colaboratori /
Collaborators: Arh. / Arch. Plamen Stancev, Arh. / Arch. Costin {elariu, Arh. / Arch. Oana Sårbu, Arh. /
Arch. Maja Båldea, Arh. / Arch. Drago[ Bocan Amenaj`ri interioare / Interiour Design: Arh. / Arch.
Vlad Gaivoronschi, Arh. / Arch. Marius Hår]a \n colaborare / in collaboration with s.c. Hotelline S.R.L.
Design grafic / Grafic Design: Arh. / Arch. Marius Hår]a Rezisten]` / Structural Engineering: S.C. H.I.
Struct S.R.L., Ing. / Eng. Victor Gioncu, Ing. / Eng. Marius Mo[oarc`, Ing. / Eng. Margareta Florea, Ing.
/ Eng. Cornici V., S.C. Mighera S.R.L., Ing. / Eng. Mi[ca Gherasim Instala]ii / Plumbing: S.C.
C`r`midariu S.R.L., Ing. / Eng. C`r`midariu, S.C. Capabil S.R.L., Ing. / Eng. Irina C`p`stranu Art`
plastic` / Art Design: Silviu Or`vi]an, Sorin Nicodim, Vlad Ardelean Antreprenor / General
Contractor: Avicons S.R.L. (2001-2002) regie proprie / self-development (2003-2005)
Subantreprenori / Subcontractors: Lipoplast, Profial, Lorimex, Siffe, NGF etc. Beneficiar / Beneficiary:
S.C. Tajtrans S.R.L. Suprafa]a Parcelei / Land Area: 1300 mp / sqm Aria construit` desf`[urat` /
Total Built Area: aprox. 4000 mp / sqm Valoarea investi]iei, inclusiv mobilier [i dot`ri / Total Cost
Including Furniture: aprox. 3 mil euro Loca]ie / Location: Timi[oara Construc]ie / Construction:
2000 – 2005 Fotografii / Photographs: Ovidiu Mic[a, Vlad Gaivoronschi, Arpad Zachi, Marius Hår]a,
Oana Sårbu
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½176¹
Locuin]` familial`, zona C`ii Martirilor
Family dwelling, C`ii Martirilor District
Cele cåteva str`zi paralele din sudul Timi[oarei, precum
Memorandului, Cozia, D. Coresi, care se opresc \n Calea
Martirilor definesc actualmente un ]esut urban poros,
cu gr`dini generoase. Zona veche de margine a
ora[ului, cu case \n[iruite la strad`, [i-a schimbat
par]ial caracteristicile tipice de sfår[it de secol 19, pe
lång` modalit`]ile tran[ante de ocupare a parcelelor
ap`rånd \n ultimele decenii [i case izolate sau lipite
doar la cåte un calcan.
Pe parcela studiat` exista o cl`dire parter de proast`
calitate, de acest tip. |n aceste condi]ii, interven]ia
noastr` a fost una de plomb`, de repara]ie a sitului,
ocupånd \n \ntregime latura \ngust` c`tre strad` a
parcelei; ]inånd cont [i de dorin]a expres` a clientului
de a avea o mic` zon` intermediar` c`tre strad`, a fost
p`strat regimul de aliniere al casei demolate \ntr-o
u[oar` retragere. A rezultat un dublu ecran c`tre
strad`, cel mai transparent al gardului [i cel mai opac al
fa]adei, iar \ntre ele, \n zona de tranzi]ie, s-au n`scut o
mare jardinier`, treptele de acces [i marea copertin`
The few parallel streets in the South part of Timi[oara, such
as Memorandului, Cozia, D. Coresi, which end in Calea
Martirilor, actually define a porous urban tissue, with
spacious gardens. The old area on the outskirts of the city,
with strings of houses looking toward the street, has partly
changed its typical late 19th century characteristics further
to the occurrence, during the last decades, next to the
houses firmly gripping the land plots, of isolated houses or
houses adjoining only at the rear wall.
On the studied plot there was a one-floor building of poor
quality. Under the circumstances, our intervention
functioned like a filler, aiming to repair the site and to
occupy the entire narrow street side of the plot. Taking
account of the client’s express wish to have a small
intermediary portion looking toward the street, the
alignment regime of the demolished house was kept
through a slight recess. There resulted a double screen to
the street, the more transparent one represented by the
fence, and the more opaque, by the façade; between them,
in the transition area, there occurred a large flower pot, the

care protejeaz` intrarea, metamorfozat` \n glaf [i apoi
\n parapet. Acesta este elementul emblematic, semnul
care marcheaz` latura nordic`, urban`, a casei. Acest
element adi]ionat plinului fa]adei (lung` de 17.40 m)
este echilibrat de volumul substras al zonei de acces \n
garaj, rezultånd astfel o reliefare a acesteia care se
\nvioreaz` la apusul soarelui (vara).
Din punctul de vedere al regimului de \n`l]ime – S+P+1
– casa se integreaz` \n context f`r` probleme. Fa]` de
vechile tipologii ale caselor \n[iruite din zon`, diferen]a
este normal`. Acestea sunt de obicei constituite din
mai multe apartamente, separate de ganguri \nchise cu
por]i mari din lemn [i cu fa]ade ritmate de ferestre
\nalte [i \nguste cu demisol [i parter \nalt, dezvoltate [i
\n adåncimea parcelelor. |n cazul nostru, tema program
diferit` – locuin]` pentru o singur` familie – genereaz`
o diferen]iere net` a celor dou` laturi ale casei, precum
[i o dezvoltare \n benzi paralele \ntre ele, \ntr-un limbaj
relativ contemporan. Fa]` de latura nord-vestic`, cea
sud-estic`, orientat` c`tre gradin`, este total diferit`: o
Locuin]` familial`, zona C`ii Martirilor
½177¹
access stairs and the imposing front door cover which
protects the entrance, first metamorphosed into a window
board and then into a balustrade. This is the emblematic
element, the sign that marks the Northern, urban sign of
the house. This element added to the wholeness of the
façade (having 17.40 m in length) is balanced by the
subtracted volume of the area of access into the garage,
thus resulting an emphasized structure which comes to life
at dusk, in summer.
As far as the elevation regime is concerned – S+P+1 – the
house is integrated in the context without any problems.
When compared to the former typologies of the local
houses, the difference appears to be normal. Such are
usually made of several apartments, separated by
gangways shut with big wooden gates and with facades
regularly cut by high narrow windows, with an
underground floor and a high ground floor, also going
deep into the plot. In our case, the different program theme
– a dwelling for only one family – generates a clear-cut
differentiation between the two sides of the house, and a
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½178¹
Fa]ad` principal` / Main facade
mare prisp` devine un spa]iu con]in`tor [i intermediar
totodat`, dezvoltat pe dou` niveluri, ad`postind sera
winter-garten [i marea teras`.
Aceasta cas` se situeaz` la grani]a dintre dou` situa]ii
aflate \ntr-o total` opozi]ie:
– c`tre strad` – nord, lumina apusului, spa]iu public,
zgomot, praf, asfalt;
– c`tre gradin` – sud, soare, lumina dimine]ii, lini[te,
intimitate, proprietate, natur`.
Traseul de mi[care orizontal major se desf`[oar` [i
mediaz` aceste dou` realit`]i, traversånd benzile
paralele ale diferitelor func]iuni diurne: adiacent
holului pe dou` niveluri cu scara care-l define[te
perimetral, traverseaz` camera de zi, sera [i apoi terasa,
coborånd \n gr`din`. Traseul de mi[care vertical se
desf`[oar` pe nivelele succesive decalate ale etajului,
ajungånd mai \ntåi la dormitorul principal
(miniapartament cu baie, panderie [i mic etaj sub pod)
situat peste garaj la cota +1.87 [i mai apoi la restul de
dou` dormitoare cu baie la cota + 3.06. |nainte de a
ajunge la acestea din urm`, parcursul popose[te \n
biblioteca deschis` \n supant` \nspre hol, amplasat`
c`tre nord [i adiacent` benzii orizontale de ferestre,
care pentru interior definesc un imens tablou al siluetei
ora[ului. De cealalt` parte, loggia dormitorului
principal \mpreun` cu balconul de peste ser` al
celorlalte dormitoare se deschid protejate c`tre gr`din`.
development in parallel strips, in a relatively contemporary
language. As compared to the North-East side, the South-
East side, oriented toward the garden, is completely
different: a large porch becomes a containing as well as an
intermediary space, developed on two levels, sheltering the
winter-garden greenhouse and the large terrace.
This house is on the border between two, utterly conflicting,
places:
– to the street – the North, the sunset light, the public
space, noise, dust, asphalt;
– to the garden – the South, the sun, the morning light,
peace, intimacy, propriety, nature.
The major horizontal route unfolds along and mediates
between these two realities, crossing the parallel strips of
the various daily functions: adjoins the lobby on two levels
by means of the staircase which defines its perimeter,
crosses the living-room, the greenhouse and then the
terrace, descending in the garden. The vertical route
unfolds on the successive displaced levels of the upper floor,
first reaching the main bedroom (mini-apartment with
bathroom, dressing-room and a small floor under the attic)
located over the garage at the +1.87 quota and then the
remaining bedrooms with bathroom, at the + 3.06. quota;
before reaching the latter it stops in the library opened in
the lobby split-level, located to the North and adjacent to
the horizontal string of windows, which define, for the
interior, an immense picture of the city. On the other side,
 Locuin]` familial`, zona C`ii Martirilor

Sec]iune transversal` / Cross section

Materialit`]ile celor dou` laturi sunt de asemenea \n
opozi]ie: \nchidere de zid zugr`vit alb [i clincher pe
soclu, pe gard, jardinier`, trepte la strad` – metal [i
mult lemn al terasei [i structurii scheletale deschise
c`tre gr`din`.
|mpreun` cu garajul calibrat pentru dou` vehicole [i cu
subsolul cu centrala termic` [i restul anexelor, aria
construit` desf`[urat` a acestei case nu dep`[e[te 310 mp;
aria construit` este de 144 mp, cu un procent de
ocupare al terenului de 840 mp de 17,1% [i cu un
coeficient de utilizare a sa de 0,36.
Bugetul alocat edific`rii acestei case a r`mas la un nivel
relativ sc`zut, \n condi]iile unor materiale [i tehnologii
constructive abordabile [i ale unor finisaje normale.
Vlad Gaivoronschi
Casa la limit`
Text ini]ial publicat \n «Arhitext», nr. 1/2004
the loggia of the main bedroom together with the balcony
overlooking the greenhouse of the other protected
bedrooms look toward the garden.
The materialities of the two sides are also in opposition:
white wall enclosure and cement clinker on the plinth, on
the fence, a flower pot, stairs toward the street, metal and a
lot of wood on the terrace and the skeleton-like structure
facing the garden.
Along with the garage arranged for two cars and with the
basement sheltering the heating station and the rest of the
appurtenances, the unfolded built area of this house does
not exceed 310 sqm; the built-up area is 144 sqm, the
percentage of occupation of the 840 sqm land being 17.1%
and its use coefficient, 0.36.
The budget allocated to the construction of this house has
been relatively low, given the approachable building
materials and technologies and the ordinary finishing.
Vlad Gaivoronschi
The Border House
The text has been previously published in «Arhitext», no. 1/2004
(Translation: Claudia Rada)
Plan de situa]ie / Site plan

Autor / Author: Arh. / Arch. Vlad Gaivoronschi Coautor / Co-Author: Arh. / Arch. Oana Sårbu
Mobilier buc`t`rie / Kitchen Furniture: Arh. / Arch. Claudiu Toma Antreprenor / General
Contractor: S.C.Scorex S.R.L. Loca]ie / Location: Timi[oara Construc]ie / Construction: 2000 –
2001; Fotografii / Photographs: Vlad Gaivoronschi, Marius Hår]a, Oana Sårbu
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½182¹

Plan parter / Ground floor plan

 Locuin]` familial`, zona C`ii Martirilor

½183¹

Plan etaj / Floor plan

 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½184¹
Locuin]` de vacan]`, R`b`gani
Holiday Villa, R`b`gani
Situat` la poalele Carpa]ilor Apuseni, \ntr-o zon`
deluroas`, comuna R`b`gani se g`se[te pe traseul [oselei
interna]ionale Oradea-Alba Iulia (Deva). Parcela pe care a
fost edificat` locuin]a de vacan]` este adiacent` acestei
artere foarte circulate, avånd [i o u[oar` declivitate de-a
lungul acesteia. Suprafa]a generoas` a terenului de 2049
mp., cu o desf`[urare la [osea de 43.25 m, a permis o
organizare \n adåncime [i amplasarea retras` a casei la
aproximativ 26 m fa]` de limita de proprietate [i fa]` de
[oseaua zgomotoas` [i pr`foas`. Amplasarea casei a ]inut
cont [i de numero[ii pomi fructiferi de pe teren, fiind
integrat` \ntre ace[tia.
Direc]iile cardinale majore luate \n considerare au fost
r`s`ritul [i apusul, acestea marcånd totodat` [i calit`]i
deosebite ale peisajului:
– la est, o perspectiv` \ntins` cu turle de biserici \n zare;
– la vest, silueta mai apropiat` a crestei dealului
\mp`durit care str`juie[te comuna.
Casa a fost amplasat` [i organizat` func]ie de aceste
coordonate ale locului:
– avånd o dezvoltare liniar` cu axa longitudinal`
important` nord-sud, paralel` cu [oseaua, amplasat` cåt
Located at the foot at the West Carpathians, in a hilly zone,
R`b`gani commune is located along the Oradea-Alba Iulia
(Deva) international road. The plot on which this holiday
mansion was built borders on this very busy road and also
has a slight declivity. The vast 2,049 sqm plot area, with the
road side having 43.25 m in length, allowed a construction
in depth and a receding location of the house at
approximately 26 m from the property boundary and the
noisy, dusty road. The location of the house has also taken
account of the numerous fruit trees on the land, being
integrated among them.
The major cardinal directions taken into account have
been the sunrise and the sunset, which have also served to
set off certain distinctive qualities of the landscape:
– to the East, a vast perspective of remote church towers;
– to the West, the close silhouette of the forested hill crest
watching over the commune.
The house was located and organized according to the
following coordinates:
– a linear development in line with the important
longitudinal North-South axis, parallel with the road,
located as close to the North side as possible, with

mai aproape de latura nordic`, cu spa]ii anexe la nord
(garaj, central` termic`) [i oferind la sud marea teras` –
camera de zi \n aer liber;
– dezvoltånd o serie de direc]ii de privire dinspre \n`untru
\nspre afar`, \nr`månd succesiv peisajul \ndep`rtat de la
r`s`rit, focalizånd asupra turlelor (una dintre biserici fiind
chiar construit` cu sprijinul financiar al clientei noastre) [i
totodat` introducånd razele de lumin` ale dimine]ii \n
spa]iul interior al tuturor \nc`perilor importante – camer`
de zi, buc`t`rie, dormitoare, b`i etc;
– configurånd astfel \ntinsa fereastr` orizontal` \ncåt s`
poat` fi urm`rit` de pe coridorul-pasarel` de la etaj linia
sinuoas` a siluetei dealului accentuat` de apusul
soarelui.
Acest raport \n`untru-afar`, care cap`t` consisten]` cel
pu]in la nivelul percep]iei subliminale, este celebrat \n
zonele intermediare de la extremit`]ile sudice [i nordice
ale casei – terasa de la cota 0.00, balconul dinspre sud [i
loggia dormitorului de la nord de peste spa]iile anex`.
Efectele de percep]ie ale dep`rt`rii sunt compensate cu
cåteva accente apropiate:
– o mic` gradin` interioar` \n camera de zi luminat` de
Locuin]` de vacan]`, R`b`gani
½185¹
appurtenances to the North (a garage and a heating
station) and offering to the South the large terrace-the
living-room in open air;
– several directions of looking from inside to the outside,
successively framing the remote eastern landscape,
focusing on the church towers (one of the churches being
actually built with the financial help of our client) and
also welcoming the morning sun in all important rooms–
living-room, kitchen, bedrooms, bathrooms etc.;
– the large horizontal window positioned so that the
twisting hill line set off by the sunset may be noticed from
the upper floor footbridge-corridor.
This inside-outside relation, which gains consistency at
least on the subliminal perception level, is celebrated in the
intermediary areas from the South and North extremities
of the house-the terrace on the 0.00 quota, the balcony
facing the South and the loggia of the bedroom positioned
to the North, over the appurtenances.
The effects created by the perception of the distance are
compensated by several close touches:
– a small inner yard in the living-room lit by the setting
sun through a window descending to floor level;
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½186¹
razele soarelui la apus printr-o fereastr` coboråt` la
nivelul pardoselii;
– [emineul \n col]ul sud-estic al camerei de zi;
Expansiunea pe vertical` a spa]iului se petrece \n zona
sc`rii interioare [i mai ales deasupra locului de luat masa,
acolo unde lumina coboar` zenital, iar de pe pasarela de
deasupra se percepe ]arina cu turnurile bisericilor la est
\nr`mate \n rotundul unicei ferestre de acest fel.
Privind lucrurile invers, dinspre afar`, casa este \ntr-o
oarecare m`sur` monumental`, datorit` dep`rt`rii fa]`
de zona de acces, a amplas`rii ei par]iale pe platforma
masiv` a terasei la o cot` mai ridicat` pentru a prelua
declivitatea terenului [i datorit` elementelor majore
orizontale care se articuleaz` [i se suprapun:
– masivul de granit al parapetului terasei, care devine
soclu pre]ios pentru obiectul alb [i mai dematerializat
de deasupra;
– acoperi[ul simplu, liniar, articulat fa]` de restul corpului
prin intermediul ferestrei orizontale;
Scara major` a acestor elemente este nuan]at` de
– the fire place located in the South-East corner of the
living-room.
The space expands vertically in the staircase area and
particularly over the eating place, where light descends
from the zenith. From the corridor above, one can easily
perceive the turf, with the church towers looking towards
the East framed by the only round-shaped window in the
house.
From a reverse perspective, i.e. from the outside, the house
is monumental to some extent, due to its distance from the
access area, to its partial location on the massive platform
of the terrace at a higher quota to take over the declivity of
the land, and also due to its major horizontal elements
which articulate and overlap:
– the massive granite of the terrace balustrade, which
becomes a precious plinth for the white, dematerialized
object above;
– the simple, linear roof, articulated, as compared to the
rest of the structure, by means of the horizontal window.
The imposing scale of these two elements is refined by the
 Locuin]` de vacan]`, R`b`gani

½187¹

ritmurile ferestrelor verticale de pe ambele laturi, estic` [i
vestic`, copertina metalic` care accentueaz` intrarea \n
cas` etc..
Suprafa]a construit` a cl`dirii este de 165 mp, aria
construit` desf`[urat` este de 258 mp, iar aria util` total`
\nsumeaz` 204 mp.
Structura de rezisten]` a scheletului de beton din stålpi [i
grinzi a permis dezvoltarea unui plan liber, fluid \n parter
[i expansiunea pe vertical` a spa]iului \n spatele
ecranului fa]adei vestice principale.
Vlad Gaivoronschi
Casa \ntre priveli[ti
Text ini]ial publicat \n «Arhitext», nr. 1/2004
rhythms of the vertical windows positioned to the East as
well as to the West, by the metal front door cover
highlighting the entrance to the house, etc.
The built area of the building is 165 sqm, the unfolded built
area is 258 sqm, and the total useful area is 204 sqm.
The load bearing structure of the concrete frame in the
pillars and beams enabled the development of a free plan,
fluid on the ground floor and in the vertical expansion of
the space behind the screen of the main West façade.
Vlad Gaivoronschi
The House between Views
The text has been previously published in «Arhitext», no. 1/2004
(Translation: Claudia Rada)

Autor / Author: Arh. / Arch. Vlad Gaivoronschi Colaborator / Collaborator: Arh. / Arch. Oana Sårbu
Antreprenor / Contractor: regie proprie / self-development Beneficiar / Beneficiary: Eva Hen] Loca]ie /
Location: R`b`gani Construc]ie / Construction: 2002 Fotografii / Photographs: Arpad Zachi
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½188¹

Plan de situa]ie / Site plan

Plan etaj / Floor plan

 Locuin]` de vacan]`, R`b`gani

½189¹

Fa]ad` principal` / Main facade

Fa]ad` curte / Backyard facade

Sec]iune longitudinal` / Longitudinal section

½190¹
Casa Po[a
Po[a House
Realizat` \n etape succesive (ad`ugire la o cas`
existent`, demolarea acesteia [i \ntregirea \ntregului
ansamblu), casa familiei Sorin Po[a se integreaz`
discret \n ansamblul unei str`zi lini[tite din cartierul
timi[orean Elisabetin. Organizarea spa]iului speculeaz`
[i interpreteaz` orientarea fericit` a casei pe «axa est-
vest», captånd c`tre gr`din` r`s`ritul, oferind terasele
parterului [i etajului dinspre strad` apusului soarelui.
Monumental` c`tre spa]iul privat [i adånc al gr`dinii,
prietenoas` c`tre spa]iul public al str`zii, cl`direa este
definit` de dialogul acestor dou` case disjuncte. La fel
de important este [i dialogul materialelor [i al
obiectelor, \ntre care calcarul «\nverzit» al fa]adei de
apus sau pielea alb`/maro \nchis de pe stålpii rotunzi,
care definesc atmosfera ludic` a acestei case destinate
\n primul rånd celor doi copii (un b`iat la 3 ani [i o
feti]` la 6 ani)
Vlad Gaivoronschi
Constructed in several stages (first it was added to an
existing house, then the latter was demolished and the
structure was completed), the house of Sorin Po[a’s family
discretely integrates in the environment of a quiet street in
Timisoara’s district Elisabetin. The organization of the
space speculates and interprets the opportune orientation
of the house along the East-West axis: the garden captures
the sunrise, while the ground floor terraces and the upper
floor facing the street capture the sunset.
Monumental as far as the private, deep garden space is
concerned, friendly when it comes to the public street space,
the building is defined by the dialogue between these two
distinct houses. Equally important is the association of objects
and materials, such as the «green» limestone on the West
façade or the white/dark brown covering of the round pillars
which define the ludic ambience of this house primarily
serving to accommodate the two little children: a three-year
old boy and a six-year old girl.
Vlad Gaivoronschi
(Translation: Claudia Rada)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½192¹

Plan de situa]ie / Site plan

 Casa Po[a

½193¹

Plan etaj / Floor plan

Plan parter / Ground floor plan

Sec]iune transversal` / Cross section

Autor / Author: Arh. / Arch. Vlad Gaivoronschi Colaboratori / Collaborators: Arh. / Arch. Oana Sårbu, Arh.
/ Arch. Claudiu Toma Rezisten]` / Structural Engineering: Ing. / Eng. Gherasim Mi[ca Antreprenor /
Contractor: regie proprie / self-development Suprafa]a construit` total` / Total Built Area: 410 mp / sqm
Loca]ie / Location: Timi[oara, str. Martir Ladislau Csiszmarik nr.1 Construc]ie / Construction: 2004 –
2007 Fotografii / Photographs: Ovidiu Mic[a
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½196¹
«City Business Centre»
City Business Centre
Cl`direa de birouri, comer], servicii amplasat` pe latura
vestic` a Pie]ei 700 – Timi[oara este prima etap` a unui
ansamblu de 5 cl`diri, galerii, atriumuri etc., ce vor
constitui «or`[elul» City Business Centre. Ansamblul
Modatim urmeaz` a \nlocui industria textil` existent` [i
presupune o conversie radical` a locului, generånd o
abordare mai generoas` a \ntregii zone.
Aceast` prim` etap` este astfel «parte» a unui
ansamblu coerent, caracterizat prin suprapunerea
straturilor func]ionale, respectiv subsol cu parcaje [i
spa]ii tehnice, parterul [i mezaninul cuprinzånd servicii
[i comer], etajele 1-5 cu birouri de clas` A [i etajul ultim,
\n retragere (penthouse) acomodånd birouri [i/sau
servicii. A rezultat o arhitectur` caracterizat` prin:
– «relieful stratificat», cu terasele \nverzite [i circulabile
de peste mezanin [i etajul 5;
– definirea «stratului» mezaninului ca dominant`
The office, trade and services building located on the West
Side of Timisoara’s Square 700 is the first stage in the
construction of an ensemble consisting of five buildings,
galleries, atriums etc. which will form the «small town» City
Business Centre. The Modatim ensemble is to replace the
existing textile industry and implies a radical conversion of
the place, stimulating a more generous approach to the
entire area.
This first stage becomes thus a «part» of a coherent ensemble,
characterized by an overlapping of functional layers, namely
a basement with parking spaces and technical spaces, the
ground floor and the mezzanine, a place for trade and
services, the five floors with A class offices and the last
receding floor, i.e. the penthouse, where offices and/or service
spaces are accommodated. The resulting architecture is
characterized by:
– layered structure, with green passable terraces over the

orizontal` a \ntregii compozi]ii, integrånd cele 5 cl`diri;
– dialectica celor dou` coji ale fa]adelor, \ntre care se
nasc logii din cånd \n cånd, cu posibilitatea realiz`rii
unei umbriri [i transparen]e totodat` la interior [i
permi]ånd \ntre]inerea u[oar` a acestora;
– dialogul celor dou` materialit`]i ale «pielii exterioare»,
jaluzele ceramice fixe tip Creaton (Wiss Tehnic) \n
dreptul logiilor [i al \ntregului mezanin, jaluzele de
sticl` serigrafiat` mobile, cu senzori [i motora[e
electrice pe restul fa]adelor;
– sistemul «inteligent» de management [i control (BMS)
al pierderilor energetice bazat pe principiul activ al
senzorilor fa]adelor ce comand` \nchiderea sau
deschiderea jaluzelelor de sticl` func]ie de parametrii
climatici;
– orchestra unui sistem dinamic pulsatoriu, de luminare
artificial` indirect` a lamelelor de sticl` ale fa]adei
«City Business Centre»
½197¹
mezzanine and the 5th floor;
– a mezzanine «layer» defined as a horizontal component
prevailing over the entire composition, and integrating the
5 buildings;
– the dialectics of the two shells of the facades, which allow
the intermittent appearance of loggias and create a
shadowy and transparent inner space, easy to maintain;
– the dialogue between the two materialities of the «outer
skin», i.e. the fixed ceramic Creaton shutters covering the
loggias and the entire mezzanine on the one hand, and the
mobile screen printed glass shutters, equipped with sensors
and small electrical engines for the rest of the facades, on
the other hand;
– the intelligent system (BMS) put in place for the
management and control of energy loss, based on the active
principle of the sensors of the facades, which control the
shutting or the opening of the glass shutters, depending on
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½198¹
 «City Business Centre»

½199¹

Plan de situa]ie / Site plan

 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½200¹
dup` trei scenarii diferite, coordonate de sistemul BMS;
– realizarea unor «locuri» puternice \n cadrul cl`dirii,
caracterizate prin ambian]` [i atmosfer` aparte,
precum holul lobby cu a sa «org` de sticl`», scara «\n
cascad`» de peste planul \nclinat deasupra rampei de
acces \n parcare, terasa \nverzit` la etajul 1 [i cea cu
pardoseal` din scånduri din lemn exotic la penthouse;
– structura ampl` a stålpilor de beton cu arm`tur`
rigid` [i a grizilor metalice ajurate cu deschideri de
pån` la 11 m ce au permis o flexibilitate maxim` a
spa]iilor de birouri organizate \n jurul nucleului
central;
– un raport optim \ntre spa]iile de servicii [i cele
deservite generånd un maxim de suprafa]`
meteorological parameters;
– the orchestra of a dynamic pulsating system of indirect
artificial illumination of the glass lamellas of the façade
according to three different scenarios, coordinated by the
BMS system;
– the disposition of striking «spots» inside the building,
characterized by a special ambience, such as the lobby with
its «glass pipe organ», the «cascading staircase» stretching
over the parking space access ramp, the green terrace on the
first floor and that with exotic wood flooring at the
penthouse;
– the ample structure of the concrete pillars with rigid armor
and of the metal beams with openings of up to 11 meters
which allowed maximum flexibility of the office spaces
«City Business Centre»

½201¹
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½202¹
\nchiriabil` la nivel de birouri clas` A dup` normele
europene – \n`l]ime de aproape 3 m, pardoseal`
flotant`, aproape 1000 mp/nivel etc.;
Suprafa]a cl`dirii este de 10 500 mp, din care cca 1700
mp parcare subteran` [i spa]ii tehnice [i aproximativ
7800 mp destina]i \nchirierii. |n final, \ntregul ansamblu
va avea cca. 60 000 mp, cuprinzånd [i cele 600 locuri de
parcare \n subsol, la care se vor ad`uga cur]ile atrium [i
galeria pietonal`, adev`rata coloan` vertebral` a
ansamblului.
Vlad Gaivoronschi
Sistem dinamic pulsatoriu
Text ap`rut ini]ial \n «Arhitext», nr. 1-2/2008
organized around the central nucleus;
– an optimal ratio between the service spaces and the spaces
benefiting from such services, generating a maximum
rentable area for class A offices, according to the European
standards – approximately 3 meters in height, movable
flooring, approximately 1,000 sqm/floor etc.
The building area is 10,500 sqm, approximately 1,700 sqm of
which are represented by the underground parking and
technical spaces and approximately 7,800 sqm have he
destination of renting space. In the end, the whole ensemble
shall have approximately 60,000 sqm, also comprising the
600 parking lots in the basement, the atriums and the
pedestrian gallery, the true backbone of the entire ensemble.
Vlad Gaivoronschi
Pulsating dynamic system
The text has been previously published «Arhitext», no. 1-2/2008
(Translation: Claudia Rada)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI

½204¹

Plan etaj curent / Current floor plan Plan penthouse / Penthouse plan

Plan mezanin / Mezzanine plan Plan etaj 1 / First floor plan

Plan parter / Ground floor plan Plan subsol / Underground floor plan
Autor / Author: Arh. / Arch. Vlad Gaivoronschi, Arh. / Arch. Dan M. Munteanu Responsabil proiect / Project Manager: Arh. / Arch. Szabo Andrea
Katalin; PT, DDE Amen`jri interioare PT, DE, / Interior Design: Arh. / Arch. Szabo Andrea Katalin, Arh. / Arch. Dan Damian PUD, PAC PUD, PAC:
Arh. / Arch. Maja Baldea Macheta, studiu urbanism / Model, Urban Planning Study: Stud. Arh. / Stud. Arch. Alexandru M`l`escu Amenaj`ri
interioare / Interior Design: Stud. Arh. / Stud. Arch. Iulia Fr`]il` Management de proiect / Project Management: S.C. Drees & Sommer S.R.L. Ing. /
Eng. Marius Birsete Rezisten]` / Structural Engineering: S.C. H.I. Struct S.R.L. Ing. / Eng. Victor Gioncu, Ing. / Eng. Marius Mo[oarc`, Ing. / Eng.
Alina Br`teanu, Ing. / Eng. Florin Cioboiu Instala]ii sanitare, \ncalzire, climatizare / Plumbing, heating, climate control system: S.C. Daro Proiect
S.R.L. (PAC, PT) Ing. / Eng. Ioan Dobo[i, Ing. / Eng. Sorin Bårsan; Ing. / Eng. Ioan Diaconu; Ing. / Eng. Ladislau Kardos; S.C. Agasi S.R.L. (DE, execu]ie)
Ing. / Eng. Adrian Smadu; Ing. / Eng. Sorin Filimon; Ing. / Eng. Sebastian Golban Instala]ii electrice / Wiring: S.C. Capabil S.R.L. (PAC, PT) Ing. / Eng.
Dumitru Moisi, Ing. / Eng. Cornel Prodan, Ing. / Eng. Sorin Nann B.M.S. – building management system: S.C. Schneider Electric Romånia S.R.L. Ing.
/ Eng. Adrian Cucereanu, S.C. Imsat Cuadripol S.R.L. Ing. / Eng. Anghel Georgescu, Ing. / Eng. Ionu] Mih`ilescu Antreprenori / General Contractors:
S.C. Prompt s.a., S.C. NGF S.R.L., S.C. Alusystem S.R.L., S.C. Agassi S.R.L. Investitor / Investor: S.C. Modatim Investment S.A. Loca]ie / Location:
Timi[oara, str. C.Brediceanu – Pia]a 700 Loca]ie / Location: Timi[oara Construc]ie / Construction: 2006 – 2007 Fotografii / Photographs: Arpad
Zachi, Ovidiu Mic[a
Epilog
Epilogue
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½212¹
ARPAD ZACHI
Sub semnul dialogului
Under the Auspices of Dialogue
Dincolo de certitudinile exprimate de Dana Vais [i de
care sper s` dea seam` [i monografia de fa]`, ceea ce
m-a atras \ntotdeauna la Ioan Andreescu [i la Vlad
Gaivoronschi a fost deschiderea [i disponibilitatea lor
c`tre dialog. Un dialog, de cele mai multe ori polemic [i
provocator la Andreescu, [i explorator [i ordonator la
Gaivoronschi. Acest dialog direct sau/[i indirect, cu sine
sau cu cel`lalt ca alter ego, transpare din lucr`rile lor
realizate \n urma colabor`rii de peste 20 de ani. Un
dialog imaginar sau real, mediat sau virtual cu ceilal]i
(clien]i [i executan]i, prieteni [i colegi de breasl`,
student]i [i ucenici) fundamenteaz` activit`]ile lor fie
ele didactice sau pedagogice, fie cultural [tiin]ifice sau
artistice, fie chiar ob[te[ti. Aceast` nevoie permanent`
de comunicare (cu deosebire la Vlad), aceast` pl`cere
acut` (aproape pervers`) a discursului (mai ales la
Ionic`) implic` cu necesitate existen]a unor parteneri
(viabili). Iar dac` ace[tia nu exist`, dialogul lor \i
provoac`, \i creeaz`, \i inventeaz`, \i produce. {i asta nu
la modul imaginar sau virtual, ci la modul concret, real.
M` gåndesc la unii arhitec]i tineri care s-au format [i
au c`p`tat o personalitate distinct` fiindu-le studen]i [i
apoi ucenici. M` gåndesc la al]i arhitec]i care s-au izbit
de prelegirile sus]inute de ei \n diferite seminarii,
Reorganizare spa]ial`. Reamenajarea peisagistic` [i func]ional` Pia]a 700, Timi[oara / Spatial reorganising. Landscape and functional remodelling
of 700 Square, Timi[oara
Beyond the certainties expressed by Dana Vais and
successfully illustrated, I hope, in this monograph, the
thing that has always captivated me, at Ioan Andreescu
and Vlad Gaivoronschi, has been their openness, their
readiness to engage in a dialogue. A dialogue which is
mostly polemical and challenging in Andreescu’s case,
exploratory and organizing, in the case of Gaivoronschi.
This direct and/or indirect dialogue with oneself or with the
other as alter ego transpires from their works, fruits of a
20-year collaboration. An imaginary or real dialogue,
mediated or virtual, with the others (clients and
contractors, friends and colleagues, students and
apprentices) lies at the core of their activities, be they
didactic or pedagogical, cultural, scientific or artistic, or
even of community interest. This permanent need for
communication (manifested particularly by Vlad), this
acute (almost perverse) pleasure of discourse (especially in
Ionic`’s case) necessarily implies the existence of (viable)
partners. If they do not exist, their dialogue challenges
them, creates them, invents them, produces them, and not
in a fictitious or virtual manner, but in a concrete, real one.
I am thinking of several young architects who developed
professionally and acquired distinct personality as their
students and subsequently as their apprentices. I am

simpozioane [i colocvii, sau care au reu[it s` descifreze
cåte ceva din nebuloasele acestei meserii citind
articolele scrise de ei sau vizitånd numeroasele
expozi]ii la care au participat cu consecven]`. \mi
amintesc de Mihai, care s-a hot`råt s` dea la
arhitectur` dup` o vizit` plin` de vorbe la Andreescu [i
Gaivoronschi, cånd Ionic` i-a spus s` nu fie prost s` se
fac` arhitect, iar Mihai dup` plecare mi-a spus: Iubesc
ace[ti oameni. Discursul este dincolo de cuvinte, cum [i
arhitectura este dincolo de construc]ii.
Epilog: noul proiect al binomului Andreescu [i
Gaivoronschi, Pia]a 700, care \ncearc` s` produc` o real`
presiune \n a reconverti un spa]iu urban rezidual \ntr-un
spa]iu public contemporan, articulat comparabil cu
celelalte pie]e tradi]ionale aflate \n zona central` a
Timi[oarei, extinde nevoia de dialog de care vorbeam mai
sus la nivelul \ntregii comunit`]i locale, apelånd la
principiile urbanismului participativ. Nu [tiu dac` vor
reu[i, dar sunt convins c` demersul pe care l-au ini]iat va
fi preluat de mul]i al]ii \n viitor [i pån` la urm` unii chiar
vor reu[i.
Sub semnul dialogului
½213¹
equally thinking of other architects who coincidentally
witnessed their lectures delivered at various seminars,
symposiums and colloquies, or of those who managed to
decode several of the obscure meanings of this profession
by reading their articles or visiting the numerous
exhibitions in which they regularly took part. I remember
the case of Mihai, who decided to take the architecture
admission exam after a meaningful visit to Andreescu and
Gaivoronschi, who was advised by Ionic` not to be stupid
and become an architect, and who told me, after leaving
their office: «I love these people». Discourse is beyond
words, just like architecture is beyond buildings.
Epilogue: the new project elaborated by the Andreescu and
Gaivoronschi pair, i.e. Square 700, which attempts to exert
actual pressure in causing the conversion of a residual urban
space into a contemporary public space, comparable to the
other traditional squares located in central Timi[oara,
expands the need for dialogue referred to above to the level of
the entire local community, by resorting to the principles of
participative town planning. I can’t tell whether they will
succeed or not, but I am convinced that their undertaking will
be an inspiration for many other architects, and that some of
them will eventually be successful.
(Translation: Claudia Rada)
 MONOGRAFIE IOAN ANDREESCU&VLAD GAIVORONSCHI
½214¹ List` de proiecte \n ordine cronologic` [i colaboratori
List of projects in chronological order and collaborators
Bijuteria «Gold Tim» /
«Gold Tim» Jewelry Store
Biserica Ortodox`, Pia]a Badea
Cår]an / Orthodox Church, Badea
Cår]an Square
Biserica Ortodox`, Str. {tefan cel
Mare / Orthodox Church, {tefan cel
Mare Street
Catedrala Ortodox` [i Centru
Religios / Ortodox Church and
Religious Center
Centrul Interna]ional de Conven]ii /
International Convention Centre
Pandora Boutique/
Pandora Shop
Biserica Greco-Catolic` (concurs) /
Greco-Catolic Church (contest)
Nara Civic Hall (concurs) /
Nara Civic Hall (competition)
Proiect de amenajare a Pie]ei Sf.
Gheorghe / Project for St. Gheorghe
Square
Casa Sere Traian /
Sere Traian House
Biserica Martirilor /
Martirilor Church
Cofet`ria «Trandafirul» /
«Trandafirul» Confectionery
Concurs Pia]a 700 Timi[oara /
Contest for Square 700 Timi[oara
{coal` \n Gross Gerau, Hessen /
School in Gross Gerau, Hessen
Centrul de documentare al
Camerei de Comer] / The
Documentation Centre of
the Chamber of Commerce
Pia]a Badea Cår]an /
Badea Cår]an Market
Centrul Pedagogic Waldorf /
Waldorf Pedagogical Centre
Hotel Perla II / Perla II Hotel
Hotel Reghina /
Reghina Hotel
Locuin]` unifamilial`,
Mede[an [i Sediul Trident
Electronics / Mede[an
House and Trident
Electronics Headquarters
Casa Bistriceanu /
Bistriceanu House
Casa dr. Cioc / Dr. Cioc House
Restaurare ansamblu Conac
Banloc / Restauration of the
Banloc Mansion Complex
Hotel Perla III /
Perla III Hotel
Campus Universitar –
Funda]ia Eminescu /
Eminescu Foundation –
University Campus
Casa Jumanca /
Jumanca House
Sediu de Rela]ii cu Publicul
Romtelecom Timi[oara /
Romtelecom, Timi[oara
Commercial and Public
Relations Agency
Restructurare [i ad`ugire
ansamblu Datatim+Alcatel /
Restructuration and addition
of Datatim+Alcatel complex
Casa Popa / Popa House
Plan urbanistic zona Pia]a
B`lcescu / Urban plan for
B`lcescu Square area
Extindere locuin]`, Str.
Bråncoveanu / House
extension, Bråncoveanu Street
Casa Ionescu / Ionescu House
Cl`dire de birouri [i parcaj /
Office building and parking
4 locuin]e duplex / 4 douplex
houses
Amenajarea fabricii East Stick /
East Stick Factory Design
Reamenajare birouri
mansard` Grafoprint /
Redesigning Grafoprint attic
offices
Restaurare asanare fa]ad`
istoric`, V. Alecsandri /
Restoration and drainage of a
historical façade, V. Alecsandri
Cas`, zona C`ii Martirilor /
Family dwelling, C`ii Martirilor
District
Reconversia Marii Sinagogi din
Cetate \n Auditorium /
Reconversion of The Great Citadel
Synagogue into Auditorium
Hotel Perla IV / Perla IV Hotel
Hotel Reghina Blue /
Reghina Blue Hotel
Hotel Savoy / Savoy Hotel

Sediu CFR Marf` Timi[oara / CFR
Marf` Timi[oara Headquarters
Transformarea \n Centru
Comercial imobil P-]a Sf.
Gheorghe nr. 2 / Commercial
functional conversion 2 St.
Gheorghe Square
Plan Urbanistic Zonal INTERPORTO
Sanandrei – Timi[oara Nord /
INTERPORTO Sanandrei – North
Timi[oara Urban zonal plan
Galeria 1 / Gallery 1
Hotel Perla V / Perla V Hotel
Casa de vacan]` R`b`gani /
Holiday Villa, R`b`gani
Agen]ia de rela]ii cu publicul
Romtelecom Bucure[ti /
Romtelecom Bucure[ti Public
Relations Agency
Reamenajare Aula Magna U.M.F.
Timi[oara / Redesigning of U.M.F.
Aula Magna Timi[oara
Reamenajarea m`n`stirii San
Gimignano / Refurbishment of San
Gimignano Monastery
Amenajare Birou de Proiectare
Andreescu & Gaivoronschi / Fitting
out the Andreescu & Gaivoronschi
Office
Restaurare imobil, Pia]a Sinaia /
Restoration of Sinaia Square
Building
Casa Octavian Mare[ /
Octavian Mare[ House
Hotel Re[i]a / Re[i]a Hotel
Locuin]` ANL / ANL House
List` de proiecte \n ordine cronologic` [i colaboratori
½215¹
Reamenajare [i extindere Arhitec]i cu care s-a colaborat de-a
Hotel Tender Interna]ional /
Extension and redesign of lungul timpului / Architects who
Tender International Hotel collaborated with Andreescu &
Gaivoronschi in time
1980-1996 Adrian Iona[iu
Amenajare exterioar` faleza
Crivaia [i hotel / Landscape 1980-1983 Florin Colopacci
design and Hotel, Crivaia Cliff 1980 Adrian Cristescu
1981, 1982 Claudiu Panaitescu
1984, 1986 Nu]u Barbu
1985, 1986 {erban Sturdza
Casa Po[a / Po[a House
1987, 1988 Dan D`ncil`
1989,1992 Mircea Morovan
1989 Pompiliu Alamoreanu
1985, 1986 Popa Dan
Locuin]` unifamilal`
Ostaficiuc / Ostaficiuc Single 1990, 1991-1996 Ioan Trif
Family House 2007 Dan Idiceanu
2007 Michael Wiczorek
«Star Telefonica» /
«Star Telefonica» {coal` dup` [coal` / School after school
(studen]i [i absolven]i ai [colii de
arhitectur` de la Timi[oara care au
lucrat sau lucreaz` la Andreescu &
Casa Vasiu-Andone / Gaivoronschi / students and graduates
Vasiu-Andone House of Timi[oara Architecture School who
have worked or are working at
Andreescu & Gaivoronschi)
«City Business Centre» / – Marius Micl`u[
City Business Centre – Beatrice Lucaci
– Carmen Calance
– Sorin Ciurariu
– Romi Adam
Casa Dr`gulin / Dr`gulin House
– Marius Nicorici
– Brånda Ciprian
– Francisc König
– B`rbu]a Gabriela
Imobil birouri, locuin]e [i comer], – Lae[ Ramona
Calea Bogd`ne[tilor / Office, – Nicolae Porime
commerce and apartment block,
Bogd`ne[tilor Street – Iacob Bolbos
– Tifan Laura
– Marius Hår]a
– Dan Munteanu Mure[an
Locuin]` unifamilial` B`l`rie / – Ramona Nicolaescu
B`l`rie Single Family House
– Oana Sårbu
– Drago[ Bocan
– C`t`lina Bocan
– Hava[i Bråndu[a
Extindere modernizare Hotel – Costin {elariu
Victoria, Gala]i / Victoria Hotel
extention and modernisation, – Maja Båldea
Gala]i – Toma Claudiu
– Vali Capotescu
– St`morean Daniel
– Ovidiu Mic[a
Birouri [i club nautic/
Offices and Nautic club – Szabo Andrea Katalin
– Dan Damian
– Ungur Mihai
– Vlad Albu
– Bencze Csongor
Propunere de organizare – Ligia Stafie
spa]ial peisagistic` [i
func]ional` – Pia]a 700/ – Iulia Fr`]il`
Proposal for spatial, landscape – Lucia Floru]iu
and functional organziation of
Square 700 – M`l`escu Alexandru
– Zaha Bogdan
– Botici Alexandru
– Simici Andrea
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