Romanian Revival architecture

Top:C.N. Câmpeanu House byConstantin Nănescu, inBucharest,c.1923;[1] Centre: The Cloister of theStavropoleos Monastery byIon Mincu, in Bucharest,c.1899-1910;[2] Bottom: TheMarmorosch Blank Bank Palace in Bucharest, 1915-1923[3]
Years active	late 19th century–first half of the 20th century

Romanian Revival architecture (a.k.a.Romanian National Style,Neo-Romanian, orNeo-Brâncovenesc;Romanian:stilul național român, arhitectura neoromânească, neobrâncovenească) is anarchitectural style that has appeared in the late 19th century in RomanianArt Nouveau,^[4] initially being the result of the attempts of finding a specific Romanian architectural style. The attempts are mainly due to the architectsIon Mincu (1852–1912), andIon N. Socolescu (1856–1924). The peak of the style was the interwar period. The style was a national reaction after the domination ofFrench-inspired ClassicistEclecticism. Apart from foreign influences, the contribution of Romanian architects, who reinvented the tradition, creating, at the same time, an original style, is manifesting more and more strongly.^[5] Ion Mincu and his successors,Grigore Cerchez [ro],Cristofi Cerchez,Petre Antonescu, orNicolae Ghica-Budești declared themselves for a modern architecture, with Romanian specific, based on theses such as those formulated byAlexandru Odobescu around 1870:

"Study the remains – no matter how small – of the artistic production of the past and make them the source of a great art (...) do not miss any opportunity to use the artistic elements presented by the Romanian monuments left over from old times; but transform them, change them, develop them ..."

Of course, such a program was not easy to accomplish. All the more so as the new types of urban architecture, especially those with many floors, demanded simple solutions, which hardly supported the world of medieval forms andornaments or that offolklore, the main sources of inspiration of the style.

19th century nationalism combined without problems with Europeanism and admiration for the West, Romania wanting to prove that it is a European country. After 1900, without abandoning European trends, the emphasis is more on values with Romanian specificity. As a result, the Parisian and Viennese buildings of the late nineteenth century are contrasted with a "Romanian style". The popularity of the Romanian style continues and intensifies in theinterwar period.^[6] The heyday of the style were the 1920s, when many Romanian Revival houses, churches and institution buildings were erected, both in Bucharest and in the rest ofGreater Romania. The trend had also extended into thedecorative arts from the start, with examples of Neo-Romanian design of furniture and other objects appearing, but also illustrations and graphic design (including stamps and magazine covers).

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  ThePotlogi Palace,Dâmbovița County,Romania, 17th century
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  The main building of theMogoșoaia Palace,Mogoșoaia,Romania, early 18th century^[7]
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  TheStavropoleos Church, downtownBucharest, 1724^[8]
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  GreceanuCulă,Măldărești,Vâlcea County, Romania, 18th century

Romanian Revival architecture is a revival of theBrâncovenesc [brɨŋkovenesk], a style in medieval Romanian art and architecture, more specifically inWallachia during the reign ofConstantin Brâncoveanu (1688–1714). This is because it was seen as the style specific to Romania, which is true. Brâncovenesc buildings are characterised by the use ofporticos (mainly the entrances of churches), trilobate orkokoshnikarches, columns (usuallyCorinthian), sometimes with twistedflutings, and metallic or ceramic tile roof. The main ornaments used for decoration are theinterlace and the complex vegetal spiral (akarinceau). Some of the features of Brâncovenesc architecture derive fromByzantine andOttoman architecture, and a some can also be found in medievalRussian architecture.

Brâncovenesc churches usually have façades decorated with reliefs, most churches being white, while some have elaborate paintings on the façades (like theStavropoleos Monastery fromBucharest). The walls of their interiors are filled with Byzantine style frescos. Above their main door there is apisanie, which is an inscribed stone plaque. The inscription usually includes a religious invocation, the name of the founder or founders, the date of construction, the motivation of the building, the circumstances of the time and other data.

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  Polychrome glazed ceramic ornaments -Școala Centrală National College,Bucharest
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  Trilobate arches - Bucharest City Hall
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  Tiled roofs -Nicolae Minovici House Bucharest
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  Metal roofs, with diamond-shaped parts - Strada Constantin C. Nottara no. 6, Bucharest
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  Complex knots (akainterlaces) - Brătianu Settlements Bucharest
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  Complex foliage spirals (akarinceaux) - Brătianu Settlements
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  Elements brought from peasant houses - Brătianu Settlements
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  Elements brought from religious architecture - Brătianu Settlements
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  Elements brought fromByzantine architecture (in this case the fish, akaichthys, an earlyChristian symbolism) - Strada Louis Pasteur no. 24, Bucharest
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  Elements grouped in threes (in this case three arches) - Strada Pictor Constantin Stahi no. 14, Bucharest
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  Building structure inspired bycule - Strada Grigore Romniceanu no. 54, Bucharest
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  Trilobed arches -Cantacuzino Castle inBușteni

The influences of peasant houses were manifested through ornaments and elements used under various interpretations, but which retain their origin. Among the elements are theloggia, the trilobed arch, wooden pillars, a treatment of the cornice as an ordinary eaves of a peasant house, the inclusion of the roof in the image of the facade as an element of ornament, carved woodenawnings, andtiled roofs. Commonly used ornaments are knots and ropes (akainterlace), peacocks drinking symmetrically from a cup, and complex vegetable spirals (akarinceaux). Some of the ornaments of some Neo-Romanian buildings from theBelle Époque are made ofpolychrome glazed ceramic, as is the case of theȘcoala Centrală National College in Bucharest.^[9] Considering the fact that most Romanians were and areOrthodox, the architects sometimes addedByzantine-inspired elements (like the two peacocks drinking from a cup) or with Christian significance. A characteristic of the style is the use of elements grouped in threes (for example a row of three windows), which refers to a Christian concept, representing theHoly Trinity (Father,Son andHoly Spirit).

The buildings often have a medieval castle or fortress look, withturrets and parts of the structure on different levels. This thing is inspired by thecule, a type of semi-fortified construction, specific to the 18th century, spread throughout theBalkan space, including Romania, especially inSerbia andAlbania. In essence, the cule were the dwellings of theboyars, built for the defense of the owner and their family members against invasions.

The first generation of Romanian architects, creators and promoters of the Romanian Revival style, is composed ofIon Mincu (1852–1912),Ion N. Socolescu (1856–1924) andGrigore Cerchez (1850–1927).^[10]

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  Lahovari House, now in the courtyard of the Cantacuzino Hospital in Bucharest (1885-1886), Strada Ion Movilă no. 5^[11]
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  Central Girls' School in Bucharest (1890), Strada Icoanei no. 3-5^[12]
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  The Cloister of theStavropoleos Monastery in Bucharest (c.1899–1910), Strada Poștei no. 6[2]
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  Design for the Bucharest city hall (1900)
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  Nicolae Petrașcu House (1900–1904),Piața Romană no. 1^[13]
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  Ghica Family Tomb in theBellu Cemetery in Bucharest (unknown date)^[14]
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  Cantacuzino Tomb in the Bellu Cemetery (unknown date)^[15]
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  Gheorghieff Brothers Tomb in the Bellu Cemetery (unknown date)
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  Iacob Lahovary Tomb in the Bellu Cemetery (unknown date)

His first attempts in Bucharest, after his return from studies in Paris, were theLahovary House [ro] (1884–1886), theKiseleff Roadside Buffet [ro] (1889–1892) and theCentral Girls' School (1890–1894). They effectively marked the birth of Romanian Revival architecture with all the persistence ofeclectic or, in general,historical tendencies. From this point of view, the Buffet is very characteristic, being one of the most successful buildings (initially designed as a Romanian pavilion at the1889 Paris Universal Exposition), which is, on the whole, in line with the balance ofBrâncovenesc architecture. Its most expressive element remains the gazebo: eight wooden pillars, connected with wooden beams, support a large masonry superstructure (trilobate arches in the shape ofbraces/kokoshniks and a completeentablature). The impression is also accentuated by the strong embossed ornamentation, made ofpolychrome glazed ceramics. Above the protrudingcornice of the ceramic entablature, wooden pieces appear again: the ends of the transverse beams and thecorbels that hold the very wide eaves of the roof. And as important spaces remain visible between the beams and corbels, the roof - large, high and covered with tiles - seems suspended. Eclectic elements appear in the ceramic ornamentation: Classicist geometric motifs orRenaissance floral motifs (but interpreted wavy, in theArt Nouveau spirit), which cover the entire surface of the gazebo masonry and the technique itself, of thehigh relief, colored in white, blue andocher, of theLuca della Robbia type, contrasts with the relative sobriety of the old Romanian architecture from which, obviously, it started. Thus, the Buffet has a happy, lively and, especially, Romanian air.^[16]

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  Study of Romanian Revival architecture for theExhibition of Artistic Youth (1904)
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  TheBucharest City Hall (1906-1910),Bulevardul Regina Elisabeta no. 47
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  ThePalace of Navigation inGalați (1912), Strada Portului no. 34
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  TheOprea Soare House in Bucharest (1914), Strada Poenaru Bordea no. 2
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  Part of the façade of theMarmorosch Blank Bank Palace in Bucharest (1915–1923), Strada Doamnei no. 2-6
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  TheSaint Nicholas Orthodox Cathedral in Galați (1906–1917), withByzantine Revival influences

One of the most vigorous and typical representatives of Romanian Revival architecture wasPetre Antonescu. He studied (1893–1898) at theBeaux-Arts de Paris, then became a professor, and later rector of the Academy of Architecture in Bucharest. His works include houses, such as the Vintilă Brătianu House (Strada Aurel Vlaicu no. 19) or the Oprea Soare House (Strada Poenaru Bordea no. 2), all built in Bucharest before World War I; and more extensive programs such as the old Ministry of Construction (the currentBucharest City Hall, Bulevardul Regina Elisabeta no. 47) or theMarmorosch Blank Bank Palace (2-6 Strada Doamnei). It combines a series of elements that belong to either the international or the local repertoire: monumental plinths with largebossages, massive pieces (columns andcorbels, andkeystones, oversized) often with a purely decorative function, suggesting archaic or rustic buildings;reliefs mix national inspiration (Moldovan window ornaments,capitals andbalustrades ofBrâncovenesc inspiration, etc), with those of the symbolic European heraldic repertoire (shields, dragons, eagles,griffins, shells, etc); as well as traditional forms of gaps, trilobate or inbrace/kokoshniks, mixed with other ones, semicircular, retreating portals, ofRomanesque orRenaissance proportions and profile, etc. This process does not completely protect the work from eclecticism, but the ansamble still tilts the balance towards a national physiognomy.^[17]

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  Romanian Revival display cases in theGeorge Severeanu Museum, Bucharest, in whichAncient ceramic is exhibited, unknown designer, unknown date, wood and glass
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  Picture frame sold in theDimitrie Gusti National Village Museum, Bucharest, unknown designer, unknown date, wood
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  Coffee table, unknown designer, early 20th century, wood
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  Desk, unknown designer, early 20th century, wood
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  Design for living room furniture, byNicolae Ghica-Budești, 1906, ink on paper
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  Curtain design, byIon Theodorescu-Sion, unknown date, watercolour
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  Illustration for the Ileana magazine, by Ludovic Basarab, unknown date, ink on paper
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  Vessel design, byApcar Baltazar, unknown date, watercolour
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  Stamp with kingCarol I, unknown illustrator, 1906, ink on paper
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  Stamp with king Carol I, unknown illustrator, 1906, ink on paper
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  Stamp with queenElisabeth, by C. Stengel, 1906, ink on paper
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  Stamp with queen Elisabeth weaving, by C. Stengel, 1906, ink on paper
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  The Magazine of the HolySynod from March 1927, unknown illustrator, ink on paper

In addition to architecture, the Romanian Revival style manifested itself in other media, including graphic design, pottery, furniture and illustration. There are good examples of Romanian Romanian furniture in theGeorge Severeanu Museum in Bucharest, mostly display cases, whereancient Greek andEtruscan vessels are exhibited.

Besides buildings, architectNicolae Ghica-Budești also produced Romanian Revival furniture. His example followed by artists like O. Roguschi, Gh. Lupu, A. Clevel,Hugo Storck, who made furniture in this style. During the 1900s,Apcar Baltazar is preoccupied with the creating a new Romanian style in decorative arts. In November 1908, an essay called "Spre un stil românesc" (Towards a Romanian style) is published in the Viața Românească (Romanian Life) magazine. Using example from world art history, he tries to find ideas for his creation and for how an authentic Romanian style should look like. As a key feature of this style, he recommends elements ofByzantine art, present in medievalRomanian architecture. He was an advocate for introducing them in an harmonious way, not straight up copying. Baltazar was also an admirer of both peasant and religious art. A motif he used in multiple designs is the stylized rooster.

Al. Tzigara-Samurcaș was a militant for the conservation of traditional peasant art. He was also an influence for Apcar Baltazar.^[18]

In general, architectural styles popular in a period tend to influence each other, sometimes leading to mixes. The Romanian Revival is no exception. Because of this, the year when many buildings were erected can be approximated more or less easily.

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  Entrance of theCentral Girls' School,Bucharest, byIon Mincu, 1890.^[12] Notice thepediment above the door, that makes this entrance similar with one of aNeoclassical building
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  Folk Art Museum,Constanța, Romania, 1893 unknown architect. The complex foliage spirals (akarinceaux) may have been inspired by Islamic architecture
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  Strada Polonă no. 13,Bucharest,c.1900, unknown architect. Notice how highly decorated this house is. Also, the small brown wooden pediment above the door is fully Neoclassical
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  Strada Grigore Alexandrescu no. 42, Bucharest,c.1900, unknown architect. This house is a mix of Romanian Revival andBeaux-Arts architecture. The shape of the windows may have been inspired by the Islamic the world
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  Strada Franzelarilor no. 2A, Bucharest, unknown architect,c.1900. This house stands out through itspolychrome glazed ceramic ornaments, similar with the ones of some churches fromMoldavia, like theSaint Nicholas Princely Church inIași
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  Diamandi House, Bucharest, unknown architect,c.1900. While all the ornaments are Romanian Revival, the structure of the house is specific to the Belle Époque: a house with three or two windows towards the street, garden, entrance in the garden, and only one story high
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  Base of a Romanian Revival lighting pole at the intersection of Streets Popa Tatu and Mircea Vulcănescu, Bucharest, unknown architect,c.1900

The Belle Époque is the period in which the style was created. Because it was not fully defined until the 1906 General Romanian Exhibition in theCarol Park, Romanian Revival buildings before 1906 can look quite different one from another, especially those of the 1890s. Architects looked for inspiration in multiple sources. Some were inspired by the Islamic world, more specifically by theOttoman influences on traditional Romanian architecture. Others were influenced more by theBrâncovenesc style, popular inWallachia in the early 18th century. In his creations,Ion Mincu mixed intentionally or not intentionallyNeoclassical,Beaux-Arts andGothic Revival elements. For example, theCentral Girls' School has an entrance with apediment above it, similarly with what you would find at a Neoclassical building. The Romanian Revival of the Belle Époque is also more decorated compared to the later phases of the style.

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  Palace of the Arts, part of the 1906 General Romanian Exhibition in theCarol Park,Bucharest, byVictor Ștefănescu andȘtefan Burcuș, 1905-1906
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  Interior of the Palace of the Arts, by Victor Ștefănescu and Ștefan Burcuș, 1905-1906
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  Nicolae Minovici House, today theNicolae Minovici Folk Art Museum,Bucharest, byCristofi Cerchez, 1906-1907^[19]
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  A. Mincu House, Bucharest, byArghir Culina, 1910^[20]
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  Door of the Laurențiu and Louise Steinebach House, Bucharest, byAlfred Popper, 1915-1916^[21]
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  Byzantine Revival window detail of the Laurențiu and Louise Steinebach House with peacocks drinking from a cup, by Alfred Popper, 1915-1916
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  Strada Grigore Romniceanu no. 54, Bucharest, unknown architect,c.1920
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  C.N. Câmpeanu/Alfred E. Gheorghiu House, Bucharest, byConstantin Nănescu,c.1923[22]
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  Apartment building built by the Communal Society for Affordable Housing for the State Monopoly Company in the Lahovary Square, Bucharest, by Lucian Teodosiu, 1926-1929^[23]
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  Saint George Grivița Church (Calea Griviței no. 218), Bucharest, by Constantin Pomponiu, 1926-1931^[24]
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  Communal Society for Affordable Housing Building in theC.A. Rosetti Square, Bucharest, byVirginia Andreescu Haret, 1927^[25]
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  Cezar Golici House, Bucharest, by Virginia Andreescu Haret, 1928

To celebrate the 25th anniversary of the coronation of kingCarol I of Romania, 40 years of his reign, 25 years since proclamation of theKingdom of Romania, and 1800 years since theRomans came in theDacian province, theGeneral Romanian Exhibition took place in theCarol Park (Park of Freedom) of Bucharest in 1906. Most of the pavilions of the fair were temporary structures, the only ones that survived being theSilver Knife Church, theRoman Arenas, the Filaret Electricity Station, small pavilions, the Mining Ministry fountain, and the water tower, designer to look like a medieval relic from the time ofVlad the Impaler.^[26][27] The 1906 General Romanian Exhibition is important because this when the style started to be fully developed.

Buildings from this phase have a consistent look. The 1920s was the peak of popularity, multiple schools, houses and institutions built after WW1 being Romanian Revival. Sometimes it was mixed withArt Deco, a style equally popular in the 1920s.

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  White House Restaurant (Aleea Privighetorilor no. 31-35),Bucharest, byOctav Doicescu, 1930^[28]
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  Palace of the Patriarchate, Bucharest, byGeorge Simota, 1932-1936^[29]
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  Pavilion of Romania at the1937 World Exhibition, Paris, byDuiliu Marcu, 1937^[30]
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  Romanian restaurant at the1939 World's Fair, New York, by Octav Doicescu, 1939^[31]

Under the pressures ofModernism, the style became more and more simplified. Initially, the supporters of the Romanian Revival style rejectedModern architecture. They saw Modern buildings as creations that lack a local spirit. However, their opposition faded with time, leading to mixes of the two movements. Multiple architects, without dropping elements inspired by local tradition, will adopt new materials and techniques. Romanian Revival proportions and volumes were kept, but ornaments were highly simplified or sometimes were just nonexistent. Buildings were reduced to essences.^[32]

• Alexandria
  • Saint Alexander Cathedral [ro] (Strada Independenței 7-9)
• Bucharest
  • Nicolae Minovici Villa (Strada Doctor Minovici Nicolae 1)
  • Sector 1 Town Hall (Bulevardul Banul Manta 9)
  • Gheorghe Tătărescu House (Strada Polonă 19)
  • Hagi-Theodoraky House (Șoseaua Kiseleff 57)
  • Romanian Peasant Museum (Șoseaua Kisseleff 3)
  • Dissescu House (Calea Victoriei 196)
  • Amza's Church (Strada Biserica Amzei 12)
  • Lahovari House (Strada Ion Movilă 5)
  • Oprea Soare House (Strada Poenaru Bordea 2)
  • Kiseleff Palace (Strada Barbu Ștefănescu Delavrancea 6A)
  • Gheorghe Petrașcu House (Piața Romană 5)
  • Interior of the Ion Mincu House, its exterior being justEclectic (Strada Arthur Verona 19)
  • Central School (Strada Icoanei 3-5)
  • Elie Radu House (Strada Alexandru Donici 40)
  • Bucharest City Hall (Bulevardul Regina Elisabeta 47)

In addition, there are areas in Bucharest where most houses are Romanian Revival, such asCotroceni andDorobanți.

• Brașov
  • Brașov Opera (Strada Bisericii Române 51)
• Brăila
  • Palace of Agriculture (Calea Călărașilor 52)
• Bușteni
  • Cantacuzino Castle (Strada Zamora 1)
• Buzău
  • City hall (Piața Daciei 1)
• Constanța
  • Constanța History and Archaeology Museum (Piața Ovidiu 12)
  • Constanța Museum of Popular Art (Bulevardul Tomis 32)
• Craiova
  • Former Pallace Hotel (Strada Cuza Alexandru Ioan 1)
  • Museum of Oltenia (Strada Popa Șapcă 8 - Sciences of Nature, Strada Madona Dudu 14 - Archaeology, Strada Matei Basarab 16 - Ethnography)
• Galați
  • Palace of Navigation (Strada Portului 34)
• Iași
  • Sonet Villa (Strada Rece 5)
• Oradea
  • Iuliu Maniu Greek Catholic College (Strada Iuliu Maniu 5)
• Ploiești
  • Ion Luca Caragiale National College (Strada Gheorghe Doja 98)
  • National Bank (Strada Tache Ionescu 1)
• Sibiu
  • Oașia Building (Strada Turnului 23)
  • Faculty of Orthodox Theology (Strada Mitrolopiei 20)
  • Gheorghe Lazăr Boarding School building (Strada Turismului 15)
• Târgu Jiu
  • Tudor Vladimirescu National College (Strada Unirii 13)
• Timișoara
  • Romanian National Opera arcades (Strada Mărășești 2)

• Bălți
  • Saint Constantine and Elena Cathedral
  • Residence of the Bishop of Hotin (Strada Visarion Puiu 7)
• Tighina
  • Mulmana Hospital

• Sarandë
  • Nicolae Iorga House (Rruga Mitat Hoxha), headquarters of the formerRomanian Institute in Albania

• Silistra
  • Regional History Museum

• Khotyn
  • House of Culture (Vulytsya Nezalezhnosti, 19-17)

• Chernivtsi
  • St. Nikolai Church
  • Holy Apostles Peter and Paul Church
  • Palace of the border guards
  • Priests' dormitory building

• Architecture of Romania
• Byzantine Revival architecture

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