Strada Constantin Budișteanu Nr. 20: proprietatea familiei Budișteanu, de-a lungul a mai multor generații: 1843-1881 E. Budișteanu, cel mai probabil Elena Bărsescu căs. Alexandru Budișteanu / Propr. Alecu Budișteanu (1846) / Propr. Elena Budișteanu, văduva sa / 1886-1887 casa avea nr. 10; Propr. căp. Nicolae Budișteanu, fiul ei (1888-1889) / Casa gen. Ctin. Budișteanu, fratele lui (1838-1911) / Propr. general A. Budișteanu, fratele, căs. cu Ecaterina Rosetti (1911) / Propr. prim-procuror Tribunal Ilfov Alex. A. Budișteanu, fiul precedenților (1914) / Propr. ing. Dimitrie A.Budișteanu (1924) / Aici a murit diplomatul și poetul Charles Adolphe Cantacuzene (Scarlat) A. Cantacuzino (1874-1949), după ce pierduse casa de pe colțul str. Th. Aman cu str. H. Berthelot; a fost adus aici de fiica sa, Armande, căs. cu ing. Dinu Rocco (Sursa: V. Dragu Dimitriu). Soția sa a fost Juliette Missir, fiica magistratului, ministrului liberal, președintelui Senatului Vasile (Basile) Missir / Casa a fost modificată și în grădină se mai află un corp dependință pe latura din dreapta. Prezintă, probabil, cea mai veche structură construită și îndelungată locuire a unei familii de pe strada studiată. Cod L.M.I. B-ll-m-B-18244 (Oana Marinache - ARHITUR, Strada Manea Brutaru - Gen. C-tin Budișteanu, Asociația și Editura Istoria Artei, 2022)
Referințe:
- Oana Marinache - ARHITUR, Strada Manea Brutaru - Gen. C-tin Budișteanu, Asociația și Editura Istoria Artei, 2022
- Oana Marinache, Arhitur – Strada Brezoianu și zona Grădinii Cișmigiului, Asociația și Editura Istoria Artei, 2024
- Incursiune în mahalaua bucureșteană Manea Brutaru (Popa Radu)
- Casa-monument din strada General Constantin Budișteanu nr. 16
Mai 2024:
ChatGPT despre stilul arhitectural al clădirii din strada General Constantin Budișteanu 20:
The building located on Constantin Budisteanu Street, depicted in the images provided, showcases an architectural style that is indicative of the late 19th to early 20th-century residential design often found in Bucharest, Romania. This style merges elements of Neoclassical architecture with subtle touches of Art Nouveau, reflecting the eclectic tastes of the period.
The structure is a single-story house with a modest, yet elegant facade. The roof is a simple gabled structure, covered with modern roofing materials, likely a replacement of the original, which would have been either tiles or shingles. The roofline is clean and unembellished, maintaining a straightforward silhouette that is characteristic of residential buildings from this era.
The facade of the building is symmetrically arranged, which is a hallmark of Neoclassical architecture. The windows are tall and narrow, topped with decorative lintels that add a touch of elegance to the otherwise plain walls. These lintels are adorned with floral motifs, indicative of the Art Nouveau influence, which sought to incorporate natural forms into the architectural detailing. The window frames themselves are likely made of wood, painted to protect against the elements, and the iron bars on the windows suggest a concern for security while also serving as a decorative element.
The walls are divided into two sections by a horizontal band, with the lower portion painted a contrasting color, which is a common feature in classical architecture to give the building a sense of solidity and grounding. The upper portion of the walls is smooth and painted in a light hue, likely to reflect heat and provide a cooling effect during the hot summers.
One of the most striking features of the building is the use of pilasters on the corners and around the windows. These flat, vertical elements mimic the appearance of classical columns, adding a sense of grandeur and formality to the building. The capitals of these pilasters are intricately decorated, again reflecting the Art Nouveau penchant for naturalistic and flowing designs.
The entrance to the building is understated, with a simple door that is likely a modern replacement. Originally, the door would have been made of heavy wood, possibly adorned with decorative carvings or ironwork. The entrance is framed by the same pilasters and lintels found around the windows, creating a cohesive and harmonious facade.
The exterior walls are likely constructed from brick or stone, materials commonly used during the period for their durability and insulating properties. The use of such materials would have provided the building with a solid, permanent feel, while also ensuring that it could withstand the test of time.
The building's yard, as seen in the images, is enclosed by a fence with a gate, suggesting that it was designed with privacy and security in mind. The fence itself is made of wrought iron, a material that was both functional and decorative, capable of being shaped into intricate patterns that complement the architectural style of the house.
Overall, the building is a fine example of the Neoclassical style infused with Art Nouveau elements. Its symmetrical design, use of classical details such as pilasters and decorative lintels, and the incorporation of floral motifs all point to an architectural approach that valued both form and function. This house would have been considered quite fashionable at the time of its construction, reflecting the tastes of a bourgeoisie class that was eager to display their sophistication and cultural awareness through their homes.
In conclusion, the building on Constantin Budisteanu Street stands as a testament to the architectural trends of late 19th and early 20th-century Bucharest. Its design blends the order and formality of Neoclassicism with the whimsical, organic details of Art Nouveau, resulting in a structure that is both elegant and charming. Despite any modern alterations, the building retains its historical character and continues to contribute to the architectural heritage of the area.
