Poem, photography, performance, film, video art, installation and architecture: these expression media represent for Vito Acconci instruments for articulating his body in space, in connection with the other bodies and related to the social and/or political context. The conventional and, therefore, the ambiguous border between the public and the private space constituted a constant theme of his artistic career. "Ever since the beginning I was interested in movement; everything started with the movement on a piece of paper, conceived as a field where, I, as a writer, but also the reader, could travel, could move. As a contextual artist, I moved between the existent systems of the city... Acconci Studio thinks architecture as an occasion for the People's Movement, as a performance place".
PROIECTE: ACCONCI STUDIO
TEXT: OANA TANASE

In the Filaret railway station area, where the tram goes up by the Tineretului Park, there is a series of wagon-houses, whose preservation is considered for environmental reasons " the houses themselves not having an extraordinary architectural value. Restyling one of them was the task of the Graphic Studio workshop and the result says something about the potential " timid and obsolete as it is " of some old houses which bear the derogatory label of "wagon". The interventions that transfigured the old building are less visible then they are laborious, consisting of a quite complicated underpinning, upon which resulted the garage, an extension in the back and a discreet elevation, finalized with a framework in the water, allowing the apparition of a partial level on the inside. The impression of refined graphic modeling of the space is given by the dark accents with a very controlled line of the bitter chocolate colored (wenge) furniture, made out of a veneered panel, very close to the heat of massive wood. The design belongs to the architects, and the execution to Ovo Design Company. The oak floor has almost the same nuance, one or two hues lighter.
PROIECT: GRAPHIC STUDIO ? ARHITECTI: REMUS HARSAN, DRAGOS PERJU, KAROL NEMES
PROIECTANT MOBILIER: FLORIN BUCIN
TEXT: SILVIA GUGU
FOTO: SERBAN BONCIOCAT

Simona Rizzi didn't use matching furniture and didn't insist upon any stylistic concordance. The total freedom of associations has the refreshing effect of a wind breeze that disturbs a stiff hair-do. Next to the traditionally monochrome and rigidly ordered interiors' palette, the house in question breathes, laughs, contradicts, plays with the senses and displays the same charm even after a typhoon. It is a house that can bear at anytime disorder, deviation from the rule, undertaking spontaneously the challenges. Postmodern as for the attitude, flirting with quotations (or rather with innuendos and paraphrases), with acid reinterpretations, the house is the mirror of an extremely elastic synapses ball, in perfect harmony with the dynamics of a young and optimistic couple's life, which we wish for you as well.
PROIECT DE AMENAJARE: SIMONA RIZZI
TEXT: SILVIA GUGU
FOTO: SERBAN BONCIOCAT

The place lives trough flexible space, not obturated by walls and doors unless where requested by the structure: the interior and the exterior communicate at the basement's level by the extension of the dining area to the exterior terrace; the entry route takes you into the open living-room from the ground-floor, leads you to the mansard via the original mosaic stair (only stairs and counter-stairs) or to the basement, where one can discover surprise-spaces (an unusual place with mosaic/sink/mirror unifying the stair-well, the service-toilet and dining area, a wonderful bedroom with wooden floor, brick walls with live texture and ceiling made out of little brick arches on metallic rails). Arranged with passion and sensibility, the "house for friends" or "the wardrobeless house" (they haven't been planned) suffered minimal interventions on the ground-floor (the demolishing of a wall, the unification of the space and the construction of a high arcade changed the access way to the living-room) and in the basement.
PROIECT AMENAJARE: ARH. CARMINA CIUCHE
TEXT: MIRELA DUCULESCU
FOTO: SERBAN BONCIOCAT

Born in 1941 in Tacoma, Washington, Dale Chihuly studied interior design at College of Art din Seattle, only to be attracted, at the end of the 60s, by the modeling of the transparent fluid " the glass " and to attend the Wisconsin University's classes. "I always drew, remembers the artist, and that really helped my thinking". And the manner of exploiting the space and the light within which Chihuly's works inhabit owes a lot to his initial formation as an ambient designer. By excellence, an experimental and innovator spirit, the artist succeeded by his monumental pieces and projects to cancel the borders between the different artistic genders (sculpture, installation, architecture, design), as well as the old conventional dispute between the minor and major arts. We're not surprised at all that Dale Chihuly's favorite artist, this magician of matter and image at the same time, is Harry Houdini.
TEXT: OANA TANASE