# Casa Radu I. Capriel

Adresă: Str. Biserica Amzei nr. 10, Sector 1, Cartierul Piața Victoriei - Romană, București
An construcție: 1912
Tip ansamblu: Case/Vile
Tip clădire: 2-5 niveluri
Stil arhitectural: Eclectic
Etichete: arhitectura, arhitect, modernist, artdeco, patrimoniu, monument istoric, risc seismic

## Descriere
Pe strada Biserica Amzei, la numărul 10, se află o casă de o frumusețe discretă și elegantă, proiectată de arhitectul Ion D. Enescu la începutul carierei sale, în 1912, în stil eclectic, cu influențe Beaux-Arts și elemente neo-baroce. În 1932, așadar la 15 ani de la construcție, Primăria Sectorului I Galben scotea la licitație imobilul, pentru a plăti datoriile fiscale ale proprietarului, un anume Radu I. Capriel.

## Articol
Pe strada Biserica Amzei, la numărul 10, se află o casă de o frumusețe discretă și elegantă, proiectată de arhitectul Ion D. Enescu la începutul carierei sale, în 1912, în stil eclectic, cu influențe Beaux-Arts și elemente neo-baroce. În 1932, așadar la 15 ani de la construcție, Primăria Sectorului I Galben scotea la licitație imobilul, pentru a plăti datoriile fiscale ale proprietarului, un anume Radu I. Capriel. Să fie, oare, chiar acel Radu Capriel amintit de Mircea Eliade în „Memoriile” sale? Cel care a finanțat revista „Est-West”, apărută în 2 numere în 1927? Capriel, cu 10 ani mai mare decât Eliade, îi trimisese cu puțin timp înainte o scrisoare în care își mărturisea admirația pentru prozele publicate în presă și dorința de a-l cunoaște.

Când s-a dus în mansarda din strada Melodiei, nr. 1, Radu Capriel a insistat să citească manuscrisele inedite ale lui Eliade. Acesta i-a dat „Romanul adolescentului miop”, pe care îl încheiase în ultima clasă de liceu, publicând chiar câteva fragmente în „Cuvântul” și „Universul literar”. După ce i l-a dat înapoi, Capriel i-a cerut și alte lucrări. Mai în glumă, mai în serios, Eliade i-a dat un manuscris confuz și alambicat din adolescență, „Memoriile unui soldat de plumb”. Nu mică i-a fost mirarea când Radu Capriel a fost pur și simplu cucerit de acest text, pe care a uitat mai apoi să i-l înapoieze...

Capriel i-a propus totodată lui Eliade crearea unei reviste: „Avea vreo zece ani mai mult ca mine, era brun, frumos, cu mustață neagră, pe oală. Ne-am împrietenit repede. Mi-a spus că are câteva acțiuni pe care ar vrea să le vândă, ca să poată scoate o revistă. Capriel ne invita serile la masă şi discutam îndelung «linia revistei». Apoi, într-o zi, ne-a mărturisit că se însoară, pleacă peste câteva zile la Abbazzia şi că nu mai poate subvenţiona revista”. Publicația, intitulată „Est-West”, a avut din acest motiv o viață scurtă, de doar 2 numere, în care Eliade a publicat două proze: „Treizeci și unu decembrie” și „Răsărit, pe mare”. Cea de-a doua fusese inspirată de o întâmplare chiar reală: o furtună violentă care i-a surprins pe Eliade și prietenii săi din liceu în barca lor cu catarg numită „Hai-hui”, construită special pentru ei la Tulcea, contra sumei de 20.000 lei, în vara care a precedat intrarea la facultate. La realizarea revistei contribuise și Ion Anestin. (ARCEN, via Facebook)

Mai 2024:

ChatGPT despre stilul arhitectural al clădirii din strada Biserica Amzei 10:

The building at Biserica Amzei 10 in Bucharest is a striking example of the eclectic architectural style that flourished in the late 19th and early 20th centuries. This style is characterized by its incorporation of elements from various historical styles, often combining them in innovative and visually engaging ways. The structure at Biserica Amzei 10 exemplifies this approach through its blend of Neoclassical, Baroque, and Art Nouveau influences, creating a façade rich in decorative detail and architectural nuance.

The introduction to this building’s architectural analysis begins with its overall form and structure. The façade is vertically oriented, with a symmetrical arrangement that emphasizes balance and proportion. The ground floor is slightly recessed, creating a base for the more ornate upper levels. This design choice not only provides a sense of grounding but also highlights the vertical progression of the building’s decorative elements.

The most prominent feature of the building is its elaborate façade, which is adorned with a variety of decorative elements that draw from different architectural traditions. The ground floor features large arched windows with intricate ironwork, typical of the Art Nouveau style. These windows are set within robust stone frames, giving them a sense of solidity and permanence. The use of ironwork in the window grilles is particularly noteworthy, showcasing the craftsmanship and attention to detail that is characteristic of this period.

Moving up to the first floor, the windows become rectangular and are framed by fluted pilasters, which are elements of the Neoclassical style. These pilasters support an entablature that runs the width of the building, adding a horizontal element that contrasts with the verticality of the pilasters. The entablature is richly decorated with friezes and dentils, adding texture and complexity to the façade.

The second floor continues the theme of verticality with a series of smaller arched windows, each topped with a decorative keystone. These windows are framed by Corinthian pilasters, which are more elaborate than the fluted pilasters on the first floor. The use of Corinthian pilasters, with their ornate capitals, adds a touch of grandeur and sophistication to the building. Between the windows are panels adorned with relief sculptures, which depict floral motifs and other decorative elements, further enhancing the visual richness of the façade.

The roofline of the building is perhaps its most distinctive feature. It is crowned with a series of dormer windows set into a steeply pitched roof. Each dormer window is framed by a rounded arch and is topped with a decorative finial, reminiscent of the Baroque style. These dormer windows not only provide light and ventilation to the attic space but also add a sense of vertical movement to the building’s silhouette. The roof itself is covered in slate tiles, which add a texture and color that contrasts with the lighter stone of the façade.

In addition to the dormer windows, the roofline is punctuated by a central pediment, which is a hallmark of Neoclassical architecture. This pediment is richly decorated with sculptural elements, including garlands and a central cartouche, which adds a sense of grandeur and importance to the building. The combination of the steeply pitched roof and the decorative dormer windows gives the building a distinctive profile that is both elegant and imposing.

One of the most interesting aspects of the building’s design is the way it integrates elements of different architectural styles into a cohesive whole. For example, the use of ironwork in the ground-floor windows is a nod to the Art Nouveau style, which was popular in Europe at the turn of the century. At the same time, the use of pilasters and entablatures is clearly derived from Neoclassical architecture, while the elaborate dormer windows and central pediment are influenced by the Baroque style. This eclectic approach allows the building to stand out as a unique and visually engaging piece of architecture.

The building’s entrance is another area where the eclectic style is evident. The main door is framed by a grand arch, which is decorated with intricate carvings and topped with a keystone. This arch is supported by Corinthian columns, which add a sense of grandeur and formality to the entrance. Above the door is a transom window with elaborate ironwork, which allows light to enter the interior while also providing a decorative element that complements the ironwork in the ground-floor windows.

The side façades of the building, while less ornate than the front, continue the theme of verticality and decorative detail. The windows on the side façades are smaller and less elaborately framed, but they still feature the same attention to detail in their design. The use of pilasters and decorative panels is continued on the side façades, creating a sense of continuity and cohesion in the building’s overall design.

The interior of the building, although not visible from the exterior, is likely to reflect the same eclectic approach as the façade. During this period, interiors were often designed to be as richly decorated as the exteriors, with elaborate plasterwork, decorative moldings, and high-quality materials used throughout. The use of different styles and decorative elements in the interior would create a sense of opulence and sophistication, reflecting the tastes and aspirations of the building’s original occupants.

In conclusion, the building at Biserica Amzei 10 is a prime example of the eclectic architectural style that was popular in Bucharest in the late 19th and early 20th centuries. Its façade is a rich tapestry of Neoclassical, Baroque, and Art Nouveau elements, combined in a way that creates a visually engaging and architecturally significant structure. The building’s attention to detail, use of high-quality materials, and integration of different architectural styles make it a noteworthy example of the period’s architecture. This building not only reflects the historical and cultural influences of its time but also stands as a testament to the skill and creativity of its architects and builders.

## Specialiști
**Arhitectură:** Ion D. Enescu

Sursă: https://www.propertyindex.ro/residential/biserica-amzei-10