Imobilul de raport Margot şi Aurel Orăscu, Strada Franceză nr. 9, arhitect Ion D. Berindey. Până în 2008, clădirea a adăpostit Studioul de Teatru Casandra.
Referințe:
- Dumitru (Dimitrie) Berindey (Berindei) (META)
- Dimitrie Berindei (Arhiva de Arhitectură)
- Familia Berindei. Portretul unor aristocrați ai spiritului. Convorbiri cu academicianul Dan Berindei
- Ion D. Berindey (1871-1928) (META)
- Ion D. Berindey ne dezvăluie bogăția din Bucureștiul aristocrat
- Ion D. Berindey (de Sidonia Teodorescu)
- Ion D. Berindey (1871-1928)
- Traseul Cultural Berindey – micul PARIS cu adevarat
- Traseul Cultural Ion D. Berindey (Răzvan Lăcraru)
- Arhitectul Ion D. Berindei
- Ion D. Berindey (Wikipedia)
- Ion D. Berindey - o figură remarcantă în arhitectura română
- Mari arhitecți Bucureșteni – Ion D. Berindey
- Reședințe Bucureștene - arhitect Ion D. Berindey
- ION D. BERINDEI, 150 DE ANI DE LA NAȘTERE
- Ion D. Berindey (Arhitectură, Restaurare și Urbanism în România - grup Facebook)
- Ion D. Berindey - un arhitect pentru secole | Clădirile care fac cinste României
- Clădiri mai puţin cunoscute ale arhitectului Ion D. Berindey, autorul Palatului Cantacuzino
- Arhitect BERINDEY (BERINDEI), Ion (Ioan) I. - META
- Ion I. Berindei - Arhiva de Arhitectură
- BERINDEY (BERINDEI), Ion (Ioan) D. (META)
- Reședințe bucureștene în stil Berindey
Octombrie 2022:
ChatGPT despre stilul arhitectural al clădirii din strada Franceză 9:
The building located at Strada Franceza 9 in Bucharest is a compelling example of early 20th-century urban architecture, reflecting the opulent yet functional style that characterized much of the city's development during this period. This structure, with its elaborate façade and grand scale, stands as a testament to the architectural ambitions of the time, when Bucharest was rapidly modernizing and positioning itself as a European capital. The building’s style is a blend of Beaux-Arts and Neo-Renaissance influences, two architectural movements that were highly popular in Europe in the late 19th and early 20th centuries, and which left a lasting impact on Bucharest's architectural landscape.
The building is a large, multi-story structure, likely intended for mixed-use purposes, with commercial spaces on the ground floor and residential or office spaces on the upper floors. This type of mixed-use development was common in urban centers during this period, as it maximized the utility of prime real estate while contributing to the vibrant street life that characterized thriving urban areas.
The façade of the building is its most striking feature, richly adorned with classical elements that speak to the Beaux-Arts and Neo-Renaissance styles. The building’s façade is organized into a series of vertical and horizontal elements that create a strong sense of rhythm and symmetry, which are key characteristics of both architectural styles. The verticality of the building is emphasized by the pilasters that rise from the ground floor to the cornice, framing the windows and adding a sense of grandeur to the structure.
One of the most notable aspects of the façade is the extensive use of balconies, which span the entire width of the building on each floor. These balconies are supported by robust stone brackets and feature ornate wrought-iron railings, typical of the Beaux-Arts style. The ironwork on the railings is intricate, with flowing, organic patterns that contrast with the more rigid classical elements of the façade. The balconies not only serve as functional outdoor spaces for the upper floors but also add depth and texture to the façade, creating shadows and visual interest.
The windows on the upper floors are large and symmetrically arranged, each framed by classical moldings and topped with pediments or decorative lintels. These windows are designed to allow maximum light into the interior spaces, which would have been important for both residential and commercial uses. The use of pediments above the windows is a direct reference to classical architecture, adding a sense of formality and dignity to the building. Some of the windows are arched, particularly those on the top floor, which adds to the building’s vertical emphasis and gives the façade a sense of hierarchy.
The ground floor of the building is distinct from the upper floors, featuring larger windows and doorways that would have originally served as entrances to shops or other commercial enterprises. The ground floor is clad in stone or stucco, with more restrained decoration compared to the upper floors, reflecting its more utilitarian function. The large display windows are framed by simple moldings, and the doorways are marked by stone surrounds that add a sense of solidity and permanence.
One of the most distinctive features of the building is the use of an oculus window, which is located prominently on the second floor. This circular window is framed by ornate stonework and serves as a focal point on the façade, drawing the eye and adding to the building’s overall grandeur. The oculus is a classical element that harkens back to Renaissance architecture, where such windows were often used to bring light into large, interior spaces.
The uppermost part of the façade is crowned with a substantial cornice, supported by decorative brackets that are richly detailed with classical motifs such as dentils and modillions. This cornice serves both a practical and aesthetic function, capping the building and providing protection from the elements, while also creating a strong horizontal line that contrasts with the verticality of the pilasters and windows below.
Despite its grandeur, the building shows clear signs of aging and neglect, particularly in the condition of the balconies and the stucco. The metal railings are rusted, and the stone brackets are weathered, indicating a lack of maintenance over the years. The stucco has also deteriorated in places, with cracks and discoloration that reveal the building’s age. These signs of decay add a layer of historical authenticity to the building, reminding viewers of its long history and the many changes it has witnessed over the decades.
The ground floor, in particular, shows evidence of modifications and adaptations to meet modern needs. Some of the original commercial spaces are now shuttered, with graffiti covering the once-pristine stonework. The presence of modern signage and external wiring further detracts from the building’s historical character, reflecting the challenges of preserving such structures in a contemporary urban environment.
The building’s scale and decorative richness are indicative of the architectural trends that were prevalent in Bucharest during the early 20th century. The use of classical elements such as pilasters, pediments, and cornices reflects a desire to connect with European architectural traditions, while the building’s size and complexity demonstrate the ambitions of a city that was rapidly growing and modernizing.
In conclusion, the building at Strada Franceza 9 is a remarkable example of early 20th-century urban architecture in Bucharest. Its Beaux-Arts and Neo-Renaissance influences are evident in the grand façade, with its classical detailing, extensive use of balconies, and strong sense of rhythm and symmetry. Despite its current state of decay, the building remains a vital part of Bucharest’s architectural heritage, offering a glimpse into the city’s past and the architectural ambitions of a bygone era. The building’s continued presence on Strada Franceza is a testament to the enduring appeal of classical architecture and the importance of preserving such structures for future generations.
