Initially, here, arose to the appetite, thirst and good taste of the tourists from May 2 a stony silhouette, well tied as it would be said, with all that it needed on the outside as well as on the inside: a small bar, straightly cut and furnished with wood (that today I hear it’s called ‘fountain’), more to the back but still wide open to the light – a kitchen and so forth, as you already imagine it yourselves but without the bow compasses, fishing nets with shells in them, plus a rhythm in the roofs… What scattered thoughts or wise decisions have changed the destiny and function of the construction I do not know, and I won’t call the proprietor in order to find out. It is clear to me as the sky that during the vacation time the business has become for him too selfish and personal: everything for my comfort, that of my family and for the sun that will bathe it… Therefore, it was punted on the local material (less on the local craftsmen), with personal experiments regarding it’s resistance to temperature changes (the brownstone chosen for a pavement suffered a long time of freezing, not for another reason, but to make the choice certain). The large openings have been speculated: let there be light for it has plenty of room to come in! And in the organization and decoration of the interior space it has been opted for a cool minimal.
PROIECT: MARIANA TEODORESCU, VLAD TEODORESCU
FOTO: SERBAN BONCIOCAT
TEXT: OANA TANASE

The hotel, in brief, is a prism that turns different faces to the two streets, having two opposite facades marked by some vertical dynamism (though the major registries are delimited also through horizontals), while the lateral facade, perceptible from the ax of the access artery and treated as such meaning transformed into signal is disjointed at equal intervals by fenestration in horizontal lanes, geometrically chipped only by the panel that bears the name: Stil. A stone plaque on which is carved in thin bronze letters. Who doesn't know what a hotel schedule means can believe in the apparent simplicity of a prism. Beyond the facades, however, the reality boils with a terrifying complexity: traffic nodes with functional distribution which vary precisely according to placement (main, secondary), with dimensions that are always problematic, with aggravating exact rapports between the annexed functions and the basic ones, with dramatic deductions of the space within the restaurants, bars, fitness rooms, when they relentlessly condition the kitchens? circuits and of the other annexes, anyway, it?s certain that it?s hard to place all these in a prism, no matter how much you screw yourself in the basement, so don?t let yourselves be fooled by the gentle and regulated shape of the building, those of you who are not architects, a hotel is always something complex under a functional aspect, and if we would have the time and we could dissect also the connotative richness besides the denotative ones, then we would never finish.
PROIECT: STARH-A.C.D.
FOTO: SERBAN BONCIOCAT
TEXT: SILVIA GUGU

Built in an eclectic style, the house rises on two levels (ground floor and a first floor with a garret), the rooms being symmetrically disposed around the imaginary ax that unites the ground floor with the garret, through a central emptiness of the shape of an eclipse, created in the first floor, with the role of a balcony. The monumental entrance flanked by two Atlants, leads, through a small vestibule, to the tall ground floor, decorated with mural paintings of a romantic facture, with sculpted elements in the rocaille manner. Two columns painted with bronze, guerdoned by anthropomorphic capitols, support the curve of the marble stairs leading to the first floor, girded by an elegant baluster of brute iron. The large strained-glass windows that served as a background for the access stair to the first floor are now replaced by mat windows, illuminated ones, but less spectacular. In the rooms on the ground floor (the library, the reading room, the numismatic cabinet and the director?s office) can be seen another part of the old rich decoration: coffered ceilings, ornaments in painted stucco, furniture and wooden decorative elements in oriental style, the mural painting with floral and geometric motifs, fireplaces with spangled tiles, strained-glass windows, small Art Nouveau accents of brute iron.
TEXT: SIMONA NASTAC
FOTO: GEORGE VASILACHE

The place is populated with those recent antiquities, from the mythology of a generation that I am also a part of: the Fram fridge – the child killer, the pick-up radio and with Draclee lamps, the Cosmos TV, the Albatros radio, the Tesla mono magneto-phone – ‘Sonet Duo’, the Russian chiffons and vacuum cleaners of the space shuttle type (that had wheels and a sled and an aerodynamic form so they would look especially conceived for ‘riding’ them), the Carpati stove, the Lebada washing machines with spinner etc. Together with the ‘hospital’ furniture and the enameled or crimpered plates which, usually, forbid a thing or another and the work protection posters which illustrate clearly and for everybody the ravages of alcohol and tobacco.
PROIECT, TEXT, FOTO: CORVIN CRISTIAN