Pe strada Smârdan la nr. 5 a funcţionat Banca Românească, cea mai importantă instituţie de credit cu capital exclusiv românesc din prima jumătate a secolului al XX-lea, care și-a început activitatea în anul 1911. Câteva bănci care au funcţionat în perioada interbelică în clădirile aliniate până la numărul 11, la intersecţia străzii Smârdan cu strada Lipscani: la numărul 7 – Banca Dunărea Românească, Banca Iancu Grunberg, Casa de Bancă M. Gârleșteanu, Banca Marcel Mărculescu; la numărul 9 – Banca Elveţiană și Română. În clădirea de la numărul 11, proprietatea lui Ștefan Petrovici Armis, ridicată în 1890 după planurile lui Paul Gottereau, găsim sediul unor bănci de mai mică importanţă: Banca de Credit Forestier, Banca Becker & Pecker, Banca de Depozite și Scont, Banca Levant Company, Banca Harry Feldman, Banca Jean Pauker, Banca Anglo-Levant SA.
Pe strada Smârdan nr. 3 se înălța imobilul Zerlendi, construit în anul 1888 și cumpărat de Banca Comercială Română imediat după înființarea sa, în anul 1907. Clădirea a fost concepută special pentru a servi operațiunilor bancare, la parter existând un hol de mari dimensiuni, amenajat pentru a servi relațiilor cu clienții.
Bănci de dimensiuni și importanță reduse regăsim în toate cele patru clădiri cuprinse în patrulaterul format de străzile Băncii Naționale, Karagheorghevici, Doamnei și Smârdan. Construite la sfârșitul secolului al XIX-lea, acestea au avut preponderent funcții comerciale, cu excepția clădirii situate pe strada Karagheorghevici la nr. 6, unde, alături de mai multe magazine și birouri, a funcționat și Teatrul Modern.
Dintre instituțiile de credit care, în diverse perioade, și-au desfășurat activitatea în jurul palatului Băncii Naționale menționăm: Banca Ilfov, Banca Albina (strada Smârdan nr. 2), Banca de Comerț și Scont, Banca Chiristigiilor, Banca Creditul Financiar, Banca A. Lazaris, Banca Ilie P. Rădulescu & Aurel Mohnblatt (strada Smârdan nr. 4), creditul Mobiliar Român, Banca de Credit și Scont, Banca Uniunii Comerciale (strada Doamnei nr. 8), Banca Zissu Fessler (strada Doamnei nr. 10), Banca A. Feldstein & M. Vainstein, Banca A. Aftalion, (strada E. Carada nr. 6), G. P. Ionescu, Banca Transsylvania (strada Băncii Naționale nr. 4). La această ultimă adresă a funcționat și una dintre cele mai importante instituții financiare ale României interbelice, Societatea Națională de Credit Industrial, de la înființarea sa, în anul 1923, și până la edificarea propriului palat din Piața Universității, la sfârșitul anilor ’30. (Palatele Băncii Naționale a României – Palatul Vechi, vol. 1, BNR 2012)
Notă: se pare că în textul de mai sus s-a strecurat o greșeală: clădirea Ștefan Petrovici Armis, ridicată în 1890 după planurile lui Paul Gottereau se află aici, la nr. 13, nu la nr. 11. A se vedea și Oana Marinache - Paul Gottereau, un regal în arhitectură. Editura Istoria Artei, 2017 (cu fotografia imobilului din str. Smâradn 13): „Ștefan Petrovici-Armis (1826-1910) îi comandă în martie lui Paul Gottereau planurile clădirii din strada Lipscani colț cu strada Smârdan. Clădirea aparținea lui A. Florescu potrivit planului cadastral din 1911; de-a lungul timpului a suferit diferite intervenții și supraetajări. ”
Referințe:
- Oana Marinache - Paul Gottereau, un regal în arhitectură. Editura Istoria Artei, 2017
- Palatele Băncii Naționale a României – Palatul Vechi, vol. 1, BNR 2012
- Bucureștii de altădată, vol 3, Constantin Bacalbasa, 1930
- Oameni care au construit Bucureștiul: Paul Gottereau
- Buildings by Paul Gottereau (Wikimedia Commons)
- Paul Gottereau - comentariu critic
- Paul Gottereau - critical review
- Paul Gottereau - București (Arhiva de Arhitectură)
- Arhitecti francezi care au lucrat in Romania in epoca moderna
August 2019:
ChatGPT despre stilul arhitectural al clădirii din strada Lipscani 27 / Smârdan 13:
The building located at the intersection of Lipscani 27 and Smârdan 13 in Bucharest is indeed a fine example of eclectic architecture, a style that became highly popular in the late 19th and early 20th centuries, particularly in rapidly modernizing urban centers like Bucharest. Eclecticism in architecture is characterized by the combination of elements from different historical styles, creating buildings that are unique and often ornate, with a focus on both aesthetic appeal and functionality. This building is a testament to that eclectic spirit, merging neoclassical elements with touches of modernist and other stylistic influences to create a distinctive urban structure.
Eclectic architecture arose during a period when architects and designers were eager to explore new forms and ideas, but also wanted to honor the traditions of the past. This style often drew from various historical sources, such as classical antiquity, the Renaissance, Baroque, and even Gothic or Romanesque elements, blending them in innovative ways. The result was buildings that were rich in detail, diverse in form, and expressive of the cultural and social aspirations of their time.
In the case of the building at Lipscani 27 - Smârdan 13, the eclectic nature is evident in its façade, which harmoniously integrates classical architectural elements with more modern features. The structure's overall symmetry and proportion are reminiscent of neoclassical design, a style deeply rooted in the principles of ancient Greek and Roman architecture. However, rather than adhering strictly to one particular style, the building combines these classical elements with others, creating a layered and textured aesthetic that is emblematic of eclecticism.
One of the most prominent classical features on the building is the use of pilasters on the corners and between windows. These pilasters are designed with capitals that are simplified, reflecting the building's neoclassical influence, yet their arrangement and interaction with the other façade elements demonstrate a more complex and varied approach typical of eclectic design. The capitals might not adhere strictly to one order, sometimes blending Ionic and Corinthian motifs in a manner that reflects a more decorative, less rigid interpretation of classical forms.
The windows on the building also display an eclectic mix of styles. While they are symmetrically arranged—a neoclassical hallmark—their framing and decoration incorporate elements from different eras. For instance, some windows may feature lintels with intricate moldings or keystones that are more Baroque in inspiration, while others are more restrained, with simple architraves that reflect a modernist sensibility. This juxtaposition of ornate and simple, traditional and modern, is a defining characteristic of eclectic architecture.
Another key feature of the building is its use of balconies, which add both functionality and aesthetic interest to the façade. The wrought-iron railings of these balconies exhibit intricate designs that are reminiscent of Art Nouveau, a style that was contemporaneous with the eclectic movement and often intertwined with it. The curvature and flowing lines of the ironwork contrast with the more angular and rigid lines of the pilasters and window frames, adding a dynamic quality to the building's appearance.
The building's roofline also contributes to its eclectic character. While the roof itself is relatively simple and flat, in keeping with modernist trends, the parapet and cornices along the top of the façade introduce classical detailing that harks back to earlier architectural traditions. These elements are not merely decorative; they serve to visually cap the building and provide a transition between the vertical façade and the sky above. The eclectic approach allows for this mix of functionality and decoration, where practical elements like the roofline are also opportunities for aesthetic expression.
Color and material play an essential role in the building's eclectic style as well. The façade is likely finished with stucco or stone, materials commonly used in both classical and modernist architecture, but the use of color could vary, reflecting the eclectic preference for combining different textures and hues. A light, neutral base color might be contrasted with darker accents on the pilasters, window frames, or cornices, highlighting the building's architectural details and adding depth to the façade.
The entrance of the building, located at the corner, is another focal point of its eclectic design. The doorway might be framed with classical elements such as a pediment or pilasters, but the use of additional decorative details, perhaps in the form of sculptural elements or elaborate carvings, would enhance the eclectic nature of the design. This blend of classical forms with more ornate, sometimes playful details, is a hallmark of the eclectic style, which values both tradition and innovation.
The eclectic style of this building also reflects the broader context of Bucharest's architectural development in the early 20th century. During this period, the city was undergoing rapid modernization, and there was a desire to create buildings that were both modern and reflective of the city's rich cultural heritage. Eclectic architecture provided the perfect solution, allowing architects to draw on a wide range of historical influences while also incorporating new ideas and technologies.
In conclusion, the building at Lipscani 27 - Smârdan 13 is a quintessential example of eclectic architecture. Its design combines elements from various historical styles, including neoclassicism, Baroque, and modernism, to create a structure that is both visually striking and functionally adapted to its urban context. The building's façade, with its mix of classical proportions, ornate balconies, and modernist roofline, embodies the eclectic spirit of early 20th-century Bucharest, a time when the city was striving to define its identity as a modern European capital. This architectural approach, which values diversity and creativity, has left a lasting legacy on the city's built environment, making structures like this one important cultural landmarks that continue to fascinate and inspire.
