Profesorul Socrate Lalu (1875–1944)
Socrate Lalu s-a născut la Piatra Neamț în 1875. A urmat liceul la Institutele Unite din Iași, apoi a plecat la Paris, unde și-a obținut prima licență în medicină sub îndrumarea profesorului Raymond, cu teza Étude de tabes chez les deux conjoints, citată ulterior în tratatul de medicină Brouardel-Gilbert. A urmat apoi Collège de France, unde, sub conducerea fiziologului Albert Dastre, a susținut o a doua teză, în științe, intitulată Recherches sur la sécrétine et le mécanisme de la sécrétion pancréatique.
La Paris a lucrat alături de mari personalități ale medicinei franceze — Victor Charles Hanot, Georges Dieulafoy, Paul Jules Tillaux, Pierre Budin, Joseph Déjerine, formându-se în spiritul rigurozității științifice și al medicinei experimentale moderne. În aceeași perioadă l-a cunoscut pe Ioan Cantacuzino și a publicat o serie de lucrări științifice remarcabile privind fiziologia și farmacologia: Épilepsie expérimentale par augmentation de la concentration moléculaire du sang (1902), Régulation osmotique des liquides internes chez les échinodermes (1903), Contribution à l’étude de l’essence d’absinthe (1903), Études sur les colloïdes – Action des radiations du radium sur l’hémoglobine (1904), Sur le mode d’action de la sécrétine (1911) ș.a.
Revenit în țară, a fost numit în 1913 titular la Catedra de Farmacologie a Facultății de Medicină din Iași, pe care a condus-o până în 1920. Apoi s-a transferat la Facultatea de Medicină din București, unde a activat până în 1940. A suplinit temporar și Catedra de Fiziologie, inclusiv după moartea profesorului Nicolae Paulescu. Lalu a introdus în mediul academic românesc spiritul critic și rigoarea școlii medicale franceze, dezvoltând laboratoarele și bibliotecile universitare.
Era un profesor devotat și foarte apropiat de studenți, mai ales după pierderea fiului său. Îi încuraja să combine pregătirea medicală cu cultura generală, susținând că medicul trebuie să fie „și un om de spirit”. Considera necesar studiul limbilor latină și greacă și pleda pentru libertatea gândirii științifice, respingând dogmatismul și superficialitatea în cercetare.
Pensionat mai devreme din cauza modificărilor legislative, nu a mai apucat să publice manualul de „Farmacodinamică” la care lucra împreună cu discipolii săi, lucrare pe care o considera „ultima satisfacție a carierei mele de profesor”. S-a căsătorit cu Emma Duckett, o americancă stabilită la Paris, și au avut o fiică, Edith Blanche Lalu. Profesorul a murit în 1944, lăsând în urmă o operă științifică solidă și o reputație de intelectual de mare finețe și etică profesională exemplară. Portretul său este păstrat astăzi în colecțiile Facultății de Medicină din Iași.
Referințe:
- Arhitectură și legende urbane: o veche și elegantă stradă bucureșteană (mențiune „Casa Lalu”)
- Calea Victoriei 2: De la Piaţa Revoluţiei la Piaţa Victoriei (mențiune „Casa profesorului Socrate Lalu”)
- Profesor Socrate Lalu
Iunie 2023:
ChatGPT despre stilul arhitectural al clădirii din strada Henri Coandă 5:
The building located at Henri Coanda 5 in Bucharest is a quintessential example of late 19th to early 20th-century eclectic architecture. This architectural style is characterized by its combination of elements from various historical styles, creating a unique and visually rich composition. This particular building incorporates aspects of Beaux-Arts, French Renaissance, and Neoclassical styles, resulting in a grand and elegant façade that is both harmonious and intricate.
The overall composition of the building is symmetrical, which is a hallmark of Neoclassical architecture. The central part of the façade is accentuated by a protruding bay that extends vertically from the ground level to the roof, creating a focal point that draws the eye. This bay is flanked by slightly recessed sections on either side, adding depth and dimension to the structure.
The ground floor is elevated, accessed by a set of stone steps that lead to an ornate wrought-iron gate. This entrance gate is framed by a stone archway, adorned with intricate carvings and topped with a small balcony. The use of wrought iron and stone for the entrance gate and steps provides a sense of solidity and permanence, while the decorative details add an element of sophistication.
The windows on the ground floor are large and arched, with each window framed by elaborate stone moldings. These moldings feature floral and geometric patterns, reflecting the influence of the Beaux-Arts style. The use of large, arched windows allows for ample natural light to enter the building, creating a bright and inviting interior space.
Moving up to the first floor, the windows are rectangular and slightly taller than those on the ground floor. Each window is topped with a decorative pediment, adding a classical touch to the façade. The central bay features a pair of French doors that open onto a small balcony with a wrought-iron railing. This balcony is supported by ornate stone brackets, which are intricately carved with floral motifs. The use of French doors and balconies is indicative of the French Renaissance influence, providing a sense of elegance and grandeur.
The second floor continues the pattern of rectangular windows, each framed by simpler moldings compared to the first floor. However, the central bay on this floor features a more elaborate design, with a large arched window flanked by pilasters. These pilasters extend upward to support a decorative entablature, which is topped with a small pediment. The use of pilasters and entablature is a classical architectural element, adding a sense of structure and formality to the façade.
The roofline of the building is particularly striking, featuring a steeply pitched mansard roof covered with slate tiles. This type of roof is typical of French Renaissance architecture and adds a distinctive silhouette to the building. The roof is punctuated by several dormer windows, each with its own small pediment and decorative molding. These dormer windows not only add visual interest but also provide additional light and ventilation to the attic space.
One of the most distinctive features of the building is its use of decorative reliefs and sculptures. The central bay, in particular, is adorned with a large sculptural panel above the first-floor balcony. This panel features a classical scene, likely depicting mythological figures or historical events. The intricate carving and attention to detail in this panel highlight the skill and craftsmanship involved in the building's construction.
The façade is further embellished with a variety of ornamental details, including cornices, friezes, and brackets. These elements are executed with precision and care, adding to the overall richness and complexity of the design. The use of different textures and materials, such as stone, brick, and stucco, creates a dynamic and layered appearance.
The building's color palette is subdued, with a combination of light stone and white stucco. This choice of colors enhances the classical and elegant aesthetic, while also allowing the decorative details to stand out. The use of natural materials and muted colors is typical of the period and contributes to the building's timeless appeal.
The interior of the building, although not visible in the photograph, is likely to reflect the same level of detail and craftsmanship as the exterior. High ceilings, decorative moldings, and grand staircases would be expected features, creating an opulent and luxurious living environment.
The location of the building on Henri Coanda Street further enhances its significance. This area of Bucharest is known for its historical and architectural heritage, with many buildings from the same period displaying similar eclectic styles. The building at Henri Coanda 5 is a valuable part of this urban fabric, contributing to the area's charm and character.
In conclusion, the building at Henri Coanda 5 is an exemplary representation of eclectic architecture, combining elements from various historical styles to create a cohesive and visually engaging design. Its symmetrical composition, decorative details, and use of high-quality materials reflect the architectural trends of the late 19th and early 20th centuries, making it a significant and cherished part of Bucharest's architectural heritage.
