Clădirile din fundul curții Casei Istrate Micescu (fostă Arion), de la aceeași adresă poștală; pentru moment nu avem suficiente informații despre legăturile dintre aceste două entități, dacă au fost/ sunt separate sau formează un tot unitar.
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Intrarea Zalomit nr. 12: Grădina lui Mihalache Pencovici (1846) / Propr. Sergiu Candiano-Popescu / 1889 plan fațadă, dependințe, secțiune casă; planuri nesemnate casă cu etaj 246,29 m.p. / 1911 col. Candiano Popescu proprietatef.n., donată Casei Școalelor, donație contestată de moștenitori / Propr. închiriată de membrii familiei Arion / 1922 vândută de Ctin. Candiano-Popescu Soc. „România Nouă”; planuri tipografie în dependințe arh. Paul Smărăndescu, posibil nerealizate / 1922 vândută Soc. „Arta grafică"; lucrările continuă, procese recuperare materiale, anulare vânzare / 1923 Soc. „România Nouă" o vinde juristului Istrate Micescu pentru 4,8 milioane lei, teren 1800 m.p. / 1928 lucrări de transformare și extindere: arh. Edmond VanSaanen-Algi, arh. Daniel Renard (biblioteca), ing. Victor Lupescu, ing. Koranyi/Corani (vezi monografia Oana Marinache, Gabriel Badea-Păun, Edmond Van Saanen-Algi, de la Baletele Rusești la Palatul Telefoanelor, Ed. Istoria Artei, 2015) / Propr. naționalizată, aici a fost Biblioteca Pedagogică / Retrocedată, împărțită astăzi între mai mulți proprietari, a fost scoasă la vânzare. (Oana Marinache, Arhitur – Strada Brezoianu și zona Grădinii Cișmigiului, Asociația și Editura Istoria Artei, 2024, pag. 15)
Referințe:
- Casa Istrate Micescu - cea mai frumoasă clădire de la intrarea în Parcul Cişmigiu
- Oana Marinache, Arhitur – Strada Brezoianu și zona Grădinii Cișmigiului, Asociația și Editura Istoria Artei, 2024
- De ce a fost părăsită cea mai frumoasă casă de la intrarea în parcul Cișmigiu. Din exterior arată minunat, înăuntru e vai și amar
- De ce a fost părăsită cea mai frumoasă casă de la intrarea în parcul Cișmigiu
- Casa Micescu bibliohub - biblioteca viitorului
- Biblioteca casei Istrate Micescu
- Arhitectul Edmond van Saanen-Algi
- Edmond van Saanen Algi
- Edmond Van Saanen-Algi, un nume uitat în arhitectura românească
- Edmond Van Saanen-Algi, de la Baletele rusești la Palatul Telefoanelor
- VAN SAANEN-ALGI, Edmond
- Arhitect Edmond van Saanen-Algi
- Edmond Van Saanen-Algi, un nume uitat în arhitectura românească (Oana Marinache)
- The Architect Edmond Van Saanen-Algi
- Afacerile conteaza, nu cultura : Încă un homeless, Biblioteca Pedagogică Naţională
Mai 2024:
ChatGPT despre stilul arhitectural al clădirii din strada Ioan Zalomit 10:
The building located at Ioan Zalomit 10 in Bucharest is an intriguing architectural specimen that blends historical elements with contemporary interventions, creating a unique visual narrative. This structure, marked by its distinct gabled roof and eclectic facade, reflects a mixture of styles that embody both traditional Romanian architecture and modern artistic influences.
The building's original architectural style can be classified as Neo-Romanian, a style that emerged in the early 20th century as a nationalistic architectural movement. This style draws inspiration from traditional Romanian vernacular architecture, Byzantine, and Brâncovenesc elements. The Neo-Romanian style is characterized by steeply pitched roofs, large gables, and intricate wooden decorations, all of which can be observed in the building at Ion Zalomit 10.
The steeply pitched roof of the building is a hallmark of Neo-Romanian architecture, designed not only for aesthetic appeal but also to efficiently manage the heavy snowfall characteristic of the region's winters. The roof's material, likely a combination of metal and traditional terracotta tiles, enhances the building's historical authenticity while providing durability and weather resistance.
The facade of the building displays a combination of plaster and exposed brickwork, common in Neo-Romanian architecture. The windows are vertically elongated, topped with decorative wooden elements that add to the building’s charm and historical accuracy. These windows not only serve functional purposes, allowing ample natural light to penetrate the interior spaces, but also contribute to the overall aesthetic, emphasizing the verticality of the structure.
One of the most striking features of this building is the vibrant mural that adorns one of its side facades. This mural is a modern addition that brings a contemporary twist to the otherwise traditional structure. The artwork, rich in colors and abstract forms, represents a blend of street art and modern muralism, showcasing the evolving cultural landscape of Bucharest. This juxtaposition of old and new creates a dynamic visual contrast that attracts attention and invites contemplation.
The entrance to the building is another notable feature. It is framed by a modest yet elegant portico, supported by columns that reflect classical influences. This entrance likely leads to a foyer or anteroom, designed to welcome visitors into a space that combines historical ambiance with contemporary functionality.
Inside, the building likely retains elements of its historical past while incorporating modern amenities. The original structure would have been designed with spacious rooms, high ceilings, and possibly even decorative moldings and wooden beams. These elements would have been preserved or sympathetically restored to maintain the building’s character. At the same time, contemporary renovations would have introduced modern comforts and technologies, ensuring that the building meets current standards for residential or commercial use.
The surrounding area, as seen in the photograph, includes an open courtyard that has been adapted to modern uses. This space is utilized for parking and features artistic installations that further enhance the building's unique aesthetic. The courtyard’s functional design also reflects contemporary urban planning principles, providing practical solutions for the needs of modern city life.
In terms of historical context, the building at Ioan Zalomit 10 represents a period in Romanian architecture where national identity and pride were expressed through architectural forms. The Neo-Romanian style, with its roots in traditional and Byzantine architecture, sought to create a distinct Romanian architectural identity, separate from Western European influences. This building, therefore, is not only a piece of architectural history but also a cultural artifact that tells the story of Romania’s architectural evolution.
The modern mural on the building’s facade adds a layer of contemporary cultural expression, reflecting Bucharest’s vibrant street art scene. This integration of modern art with historical architecture symbolizes the city's dynamic and ever-evolving identity. It represents a dialogue between the past and the present, illustrating how historical buildings can be adapted to contemporary cultural contexts without losing their intrinsic value.
The building at Ioan Zalomit 10, therefore, stands as a testament to the richness of Bucharest's architectural heritage and its capacity for adaptation and reinvention. It embodies the principles of the Neo-Romanian style while embracing contemporary artistic expressions, creating a space that is both historically significant and culturally relevant. This building, with its unique blend of old and new, offers a fascinating glimpse into the architectural and cultural landscape of Bucharest, making it a valuable part of the city’s urban fabric.
In conclusion, the building at Ioan Zalomit 10 is a remarkable example of how historical architecture can coexist with modern artistic interventions. Its Neo-Romanian roots provide a strong foundation of national architectural identity, while the contemporary mural adds a vibrant and dynamic element that reflects the city’s ongoing cultural evolution. This building is not just a structure; it is a living canvas that captures the essence of Bucharest’s past, present, and future.
