În 5 martie 1910, Hagienoff depune cerere pentru o casă de locuit în str. Boteanu, lângă Biserică (astăzi la nr. 6). În septembrie 1910 este solicitată autorizația pentru o împrejmuire de fier, pe soclu de piatră. Nu știm dacă Hagienoff a locuit vreodată în această casă, căci în 1914 îl găsim aici pe dr. St. Nicolau. (Oana Marinache)
Referințe:
- [Oana Marinache – John Elisée Berthet, Eleganța La Belle Epoque, Editura Istoria Artei, București 2021]
Mai 2024:
ChatGPT despre stilul arhitectural al clădirii din strada Boteanu 6:
The building at Boteanu 6 in Bucharest, specifically the mortuary chapel of the Boteanu-Ienii Parish, is a distinctive example of the Neo-Romanian architectural style. This style, which emerged at the end of the 19th century and flourished into the early 20th century, sought to establish a national architectural identity by drawing inspiration from Romania's medieval and vernacular architecture. The Neo-Romanian style combines elements from various historical periods, such as Byzantine, Brâncovenesc (Wallachian Renaissance), and peasant architecture, creating a unique and harmonious blend that is both traditional and modern.
The facade of the chapel is characterized by its simplicity and elegance, reflecting the sacred function of the building. The entrance is framed by a modest yet inviting arch, leading to a wooden door that likely features intricate carvings typical of Romanian church architecture. Above the entrance, there is a niche housing an icon of a saint, which serves as a focal point and spiritual symbol for visitors. This icon is a common feature in Romanian ecclesiastical buildings, reinforcing the religious purpose of the structure.
One of the most striking features of the chapel is its bell tower, which rises above the entrance and adds vertical emphasis to the building. The tower is capped with a simple, yet elegant cross, highlighting the religious nature of the structure. The belfry is open, with arched openings that allow the sound of the bells to resonate throughout the surrounding area. These arches are reminiscent of the Romanesque style, yet their simplicity aligns with the Neo-Romanian aesthetic. The clock beneath the belfry is a practical addition, serving the community by marking the passage of time, a traditional feature in many churches and chapels.
The walls of the chapel are adorned with decorative elements that are subtle yet significant. The use of plaster moldings and cornices adds texture and depth to the facade. These details are inspired by traditional Romanian motifs, often seen in the historical Brâncovenesc style, which combines Baroque and Renaissance influences with local artistic traditions. The cornices feature intricate patterns that draw the eye upward, enhancing the verticality of the structure.
The windows of the chapel are small and discreet, in keeping with the modesty expected of a religious building. They are likely framed with wood and may include stained glass or decorative grills, adding to the overall aesthetic without overwhelming the simplicity of the design. The positioning of the windows ensures that natural light can enter the space, creating an atmosphere of serenity and contemplation within the chapel.
The exterior of the chapel is painted in a soft, neutral color, which is typical of Neo-Romanian architecture. This color palette not only highlights the architectural details but also allows the building to blend harmoniously with its surroundings. The use of natural materials, such as stone and wood, further emphasizes the connection to traditional Romanian building practices.
The surrounding fence and gate are also noteworthy. The wrought iron gate features intricate patterns and motifs that are common in traditional Romanian craftsmanship. These elements serve both a functional and decorative purpose, providing security while also enhancing the aesthetic appeal of the chapel's entrance. The stone pillars that support the gate are topped with decorative elements, reinforcing the overall design language of the building.
Inside, the chapel likely features a continuation of the Neo-Romanian style. The interior would be expected to have wooden furnishings, perhaps including an iconostasis (a screen or partition with icons) that separates the nave from the sanctuary. The walls might be adorned with frescoes or icons, depicting religious scenes and figures. The ceiling could feature wooden beams or decorative plasterwork, adding to the traditional ambiance of the space.
The chapel's design is a testament to the skill and artistry of Romanian architects and craftsmen. It reflects a deep respect for tradition while also embracing modern construction techniques. The use of historical architectural elements, combined with a thoughtful approach to proportion and decoration, creates a building that is both functional and beautiful. This approach to architecture ensures that the chapel is not only a place of worship but also a cultural and historical landmark.
In conclusion, the mortuary chapel of the Boteanu-Ienii Parish at Boteanu 6 is a fine example of the Neo-Romanian architectural style. Its design incorporates elements from Romania's rich architectural heritage, blending them in a way that is both respectful of tradition and appropriate for the building's sacred function. The chapel stands as a symbol of national identity and religious devotion, embodying the values and artistic sensibilities of the Romanian people. This building is not only a place for mourning and reflection but also a testament to the enduring legacy of Romanian architecture.
